THE GRANDMASTER CONDENSED FACT SHEET
CONTEXT
- Was released in 2013
- Directed by Wong Kar-Wai
- Based on the life story of the Wing Chun grandmaster Ip Man
- The film was praised for its profound philosophical depth, historical perspective, and break-
through of the Kung-Fu film genre
- Had a very positive reception
- Grossed $64 million worldwide, becoming Wong's highest-grossing film to date
- There are 3 versions of the film
- Wong Kar-Wai’s signatures include slow motion, speed of film – slow shutter speed (step
printing), explorations of nostalgia, aesthetic drives the narrative, colourful and saturated,
familial conflict, expressionistic style, lowkey/chiaroscuro lighting, reflections,
unconventional narrative (fragmented, asymmetric, episodic)
NARRATIVE
- The seasons serve as symbolic elements, reflecting the passage of time and the emotional
states of the characters Winter represents loss and grief. It is associated with Gong Er’s
narrative arc; Gong Er and Ma San’s duel takes place on a snow-covered platform. The
frozen landscape emphasises the emotional toll of revenge and mirrors her inner
desolation. Spring represents renewal, transformation and new beginnings. When Ip Man
and Gong Er meet for the first time, the rain suggests both renewal and the uncontrollable
flow of fate. Their brief connection is like spring – beautiful but never fully realised. Summer
represents intensity, ambition, and the peak of martial prowess. Early training sequences
and martial arts schools are shown in warmer tones, reflecting the vitality of youth. Autumn
conveys nostalgia, reflection, and the fading of an era. Ip Man reflects on his past and the
autumnal tones suggest the end of an era for the Chinese martial arts. It marks the
transition from glory to decline.
- The opening sequence was a way of establishing Leung as a good actor for this role due to
people’s hesitation when the casting was announced. It was originally not going to be shot
in the rain, however, there was a change in schedule due to Leung breaking his arm that
meant that it had to be filmed during rain season.
MARTIAL ARTS/ACTION GENRE CONVENTIONS
- Themes Honour, discipline and respect, revenge or redemption, mentorship and legacy,
good vs evil, personal growth, cultural identity
- Characters The stoic hero (calm, driven by values), the master/mentor, the villain (often
a fallen student or corrupt master), the traitor, the female fighter, the comic relief sidekick
- Visual elements Choreographed fight sequences (focused on skill, style, rhythm),
traditional clothing, training montages (a convention to show growth), use of weapons, slow
motion to dramatise impact, wide-angle shots to showcase full-body movement, close-ups
of facial expressions
- Settings Dojo/temple, rural landscapes (mountains, rivers), courtyards
- Narrative Revenge arcs, tournament structure, honour vs corruption, oath or vow,
challenge -> training -> defeat -> return stronger -> final victory
HOW DOES THE GRANDMASTER CONFORM TO GENRE CONVENTIONS?
- Themes Honour, discipline and respect (central to Ip’s character), revenge or redemption
(Gong Er’s arc is a revenge narrative after her father’s death), mentorship and legacy (it’s
about passing down styles, schools, and philosophies), personal growth (Ip evolves
spiritually, not just physically), cultural identity (deeply rooted in Chinese history, values,
and tradition)
- Characters Stoic hero (Ip is humble and composed), master (Gong Yutian is a symbolic
figure of the old world), traitor (Ma San betrays his master and legacy for personal gain)
- Visual elements Choreographed fight scenes (they are elegant – less about violence and
more about art and expression), traditional costumes, use of traditional weapons, slow-
motion and wide shots (Kar-Wai uses stylised slow motion but with a poetic, rather than
adrenaline-driven, tone)
- Settings Dojo/temple, rural settings (snowy train station represents tradition vs change),
courtyards (Gong Yutian’s retirement ceremony in a brothel-like hall resembles a formal
arena scene
- Narrative Revenge arc (Gong Er’s story is a classic revenge arc – but ends in tragedy and
emotional emptiness), honour vs corruption (Ma San represents dishonour. Ip Man and
Gong Er cling to their moral codes), final duel (multiple emotional ‘final fights’ though not
dramatic
, HOW DOES THE GRANDMASTER SUBVERT GENRE CONVENTIONS?
- Themes Good vs evil (the film is more morally complex – no clear ‘evil villain’ beyond
human weakness and betrayal)
- Characters Villain (Ma San is dishonourable, but more of a tragic traitor than a classic
villain), comic relief (absent, tone is serious, meditative)
- Visual elements Training sequences (minimal or abstract. Focus is more on philosophy
than montage-style physical training)
- Narrative Challenge -> training -> revenge -> win (no final victory – Gong Er dies
unfulfilled, and Ip Man’s glory fades into quiet memory), hero’s triumph (there isn’t one)
GENERAL VIEWING GRID
- Pan shot Showing all the women with their jewels and clothing representing how martial
arts was only for the rich, Ip and Gong Yutian circling each other which builds the tensions,
upwards from Ip’s child hugging him to Ip crying evoking sympathy in the audience and
highlighting the impact of war
- High angle Looking down at Gong Yutian as he talks about a divided country showing
how that divide has a lot of power over him, when Ip Man has to wear a suit to fit in in Japan
showing how Japan has an element of power over him
- Low angle Ip Man when Gong Yutian leaves showing how Ip now has the power, Ip Man
after he defeats the people wanting martial art lessons, Ip Man as he talks to Jiang to see
Gong Er showing how his love for Gong Er is more powerful than other people
- Tracking shots Of the city creating an immersive effect, as Ip Man and Gong Yutian fight
making it feel chaotic
- Shot-reverse-shot Between Ip and Gong Yutian showing their opposing sides
- Zoom out shot As all the masters take a photo linking back to the family photo
- Two-shot As Gong Yutian hands Ip the cake and waits for him to break it showing how Ip
has now earned his respect
- Shaky camera When the bomb goes off mirroring the impact of the bomb and feels
immersive
- Long shots Of Razor and Ip when they part ways showing their detachment from society
and each other, cut from long shot of the cigarette to extreme close-up of lighting the
match making the moment feel very cinematic and important to the narrative
- ‘Shutter-speed’ editing Ip in restaurant moves normally but people around him move
very fast making it feel very atmospheric and intense
- Silence As Gong Yutian gets ready to fight which builds the atmosphere, when we see
the teacher be sick after he is punched which contrasts the pulse sound when he is
punched and intensifies Ip’s impact
- Romantic score Violin tune playing as they take a family portrait representing the love in
familial relationships, violin and flute score during montage edits of people sat in the
restaurant before Ip and Razor’s fight making it feel calming
- Diegetic noise Of cheering when Gong Yutian leaves making it feel immersive, romantic
score is interrupted by diegetic noise of the bomb and family portrait shattering showing
how the war is the culprit for the family being destroyed
- Militaristic drums/trumpets As Gong Yutian leaves and Ip is declared new Grandmaster
representing the transfer of power
- Colouring Blue tones outside juxtaposes the yellow/gold tones inside which creates a
separation, Gong Yutian is dressed in purple compared to others in black creating a
separation and showing Gong Yutian’s wealth and status as purple is a very regal colour,
Ip’s wife is in pastel colours, he is in dark clothes and the room is dark showing how he
matches there more than she does, the family’s new house is devoid of gold or colour
showing how they are now living in poverty
- Shadows Ip Man talks about time passing with half his face in the shadows and half in
orange light with the lighting acting as a physical representation of what he is saying,
silhouette of the master as he shows Ip his style making it feel atmospheric, the teacher
asks Ip whether he has ever been in a fight and a shadow crosses over Ip’s face reflecting
his life and what he has gone through
OPENING SCENE
- Pan shot From the shadows of the gate upwards which increases the tensions and feels
very regal, of people getting thrown around showing Ip Man’s strength and the violence of
the fight, zoom in shot of Ip and his wife in a family photo which feels very regal and
emphasises their wealth
- Ariel shot That moves down of them fighting which feels disorientating, Ip Man and the
other man circling each other making us feel like a bird of prey and mimics their movement
CONTEXT
- Was released in 2013
- Directed by Wong Kar-Wai
- Based on the life story of the Wing Chun grandmaster Ip Man
- The film was praised for its profound philosophical depth, historical perspective, and break-
through of the Kung-Fu film genre
- Had a very positive reception
- Grossed $64 million worldwide, becoming Wong's highest-grossing film to date
- There are 3 versions of the film
- Wong Kar-Wai’s signatures include slow motion, speed of film – slow shutter speed (step
printing), explorations of nostalgia, aesthetic drives the narrative, colourful and saturated,
familial conflict, expressionistic style, lowkey/chiaroscuro lighting, reflections,
unconventional narrative (fragmented, asymmetric, episodic)
NARRATIVE
- The seasons serve as symbolic elements, reflecting the passage of time and the emotional
states of the characters Winter represents loss and grief. It is associated with Gong Er’s
narrative arc; Gong Er and Ma San’s duel takes place on a snow-covered platform. The
frozen landscape emphasises the emotional toll of revenge and mirrors her inner
desolation. Spring represents renewal, transformation and new beginnings. When Ip Man
and Gong Er meet for the first time, the rain suggests both renewal and the uncontrollable
flow of fate. Their brief connection is like spring – beautiful but never fully realised. Summer
represents intensity, ambition, and the peak of martial prowess. Early training sequences
and martial arts schools are shown in warmer tones, reflecting the vitality of youth. Autumn
conveys nostalgia, reflection, and the fading of an era. Ip Man reflects on his past and the
autumnal tones suggest the end of an era for the Chinese martial arts. It marks the
transition from glory to decline.
- The opening sequence was a way of establishing Leung as a good actor for this role due to
people’s hesitation when the casting was announced. It was originally not going to be shot
in the rain, however, there was a change in schedule due to Leung breaking his arm that
meant that it had to be filmed during rain season.
MARTIAL ARTS/ACTION GENRE CONVENTIONS
- Themes Honour, discipline and respect, revenge or redemption, mentorship and legacy,
good vs evil, personal growth, cultural identity
- Characters The stoic hero (calm, driven by values), the master/mentor, the villain (often
a fallen student or corrupt master), the traitor, the female fighter, the comic relief sidekick
- Visual elements Choreographed fight sequences (focused on skill, style, rhythm),
traditional clothing, training montages (a convention to show growth), use of weapons, slow
motion to dramatise impact, wide-angle shots to showcase full-body movement, close-ups
of facial expressions
- Settings Dojo/temple, rural landscapes (mountains, rivers), courtyards
- Narrative Revenge arcs, tournament structure, honour vs corruption, oath or vow,
challenge -> training -> defeat -> return stronger -> final victory
HOW DOES THE GRANDMASTER CONFORM TO GENRE CONVENTIONS?
- Themes Honour, discipline and respect (central to Ip’s character), revenge or redemption
(Gong Er’s arc is a revenge narrative after her father’s death), mentorship and legacy (it’s
about passing down styles, schools, and philosophies), personal growth (Ip evolves
spiritually, not just physically), cultural identity (deeply rooted in Chinese history, values,
and tradition)
- Characters Stoic hero (Ip is humble and composed), master (Gong Yutian is a symbolic
figure of the old world), traitor (Ma San betrays his master and legacy for personal gain)
- Visual elements Choreographed fight scenes (they are elegant – less about violence and
more about art and expression), traditional costumes, use of traditional weapons, slow-
motion and wide shots (Kar-Wai uses stylised slow motion but with a poetic, rather than
adrenaline-driven, tone)
- Settings Dojo/temple, rural settings (snowy train station represents tradition vs change),
courtyards (Gong Yutian’s retirement ceremony in a brothel-like hall resembles a formal
arena scene
- Narrative Revenge arc (Gong Er’s story is a classic revenge arc – but ends in tragedy and
emotional emptiness), honour vs corruption (Ma San represents dishonour. Ip Man and
Gong Er cling to their moral codes), final duel (multiple emotional ‘final fights’ though not
dramatic
, HOW DOES THE GRANDMASTER SUBVERT GENRE CONVENTIONS?
- Themes Good vs evil (the film is more morally complex – no clear ‘evil villain’ beyond
human weakness and betrayal)
- Characters Villain (Ma San is dishonourable, but more of a tragic traitor than a classic
villain), comic relief (absent, tone is serious, meditative)
- Visual elements Training sequences (minimal or abstract. Focus is more on philosophy
than montage-style physical training)
- Narrative Challenge -> training -> revenge -> win (no final victory – Gong Er dies
unfulfilled, and Ip Man’s glory fades into quiet memory), hero’s triumph (there isn’t one)
GENERAL VIEWING GRID
- Pan shot Showing all the women with their jewels and clothing representing how martial
arts was only for the rich, Ip and Gong Yutian circling each other which builds the tensions,
upwards from Ip’s child hugging him to Ip crying evoking sympathy in the audience and
highlighting the impact of war
- High angle Looking down at Gong Yutian as he talks about a divided country showing
how that divide has a lot of power over him, when Ip Man has to wear a suit to fit in in Japan
showing how Japan has an element of power over him
- Low angle Ip Man when Gong Yutian leaves showing how Ip now has the power, Ip Man
after he defeats the people wanting martial art lessons, Ip Man as he talks to Jiang to see
Gong Er showing how his love for Gong Er is more powerful than other people
- Tracking shots Of the city creating an immersive effect, as Ip Man and Gong Yutian fight
making it feel chaotic
- Shot-reverse-shot Between Ip and Gong Yutian showing their opposing sides
- Zoom out shot As all the masters take a photo linking back to the family photo
- Two-shot As Gong Yutian hands Ip the cake and waits for him to break it showing how Ip
has now earned his respect
- Shaky camera When the bomb goes off mirroring the impact of the bomb and feels
immersive
- Long shots Of Razor and Ip when they part ways showing their detachment from society
and each other, cut from long shot of the cigarette to extreme close-up of lighting the
match making the moment feel very cinematic and important to the narrative
- ‘Shutter-speed’ editing Ip in restaurant moves normally but people around him move
very fast making it feel very atmospheric and intense
- Silence As Gong Yutian gets ready to fight which builds the atmosphere, when we see
the teacher be sick after he is punched which contrasts the pulse sound when he is
punched and intensifies Ip’s impact
- Romantic score Violin tune playing as they take a family portrait representing the love in
familial relationships, violin and flute score during montage edits of people sat in the
restaurant before Ip and Razor’s fight making it feel calming
- Diegetic noise Of cheering when Gong Yutian leaves making it feel immersive, romantic
score is interrupted by diegetic noise of the bomb and family portrait shattering showing
how the war is the culprit for the family being destroyed
- Militaristic drums/trumpets As Gong Yutian leaves and Ip is declared new Grandmaster
representing the transfer of power
- Colouring Blue tones outside juxtaposes the yellow/gold tones inside which creates a
separation, Gong Yutian is dressed in purple compared to others in black creating a
separation and showing Gong Yutian’s wealth and status as purple is a very regal colour,
Ip’s wife is in pastel colours, he is in dark clothes and the room is dark showing how he
matches there more than she does, the family’s new house is devoid of gold or colour
showing how they are now living in poverty
- Shadows Ip Man talks about time passing with half his face in the shadows and half in
orange light with the lighting acting as a physical representation of what he is saying,
silhouette of the master as he shows Ip his style making it feel atmospheric, the teacher
asks Ip whether he has ever been in a fight and a shadow crosses over Ip’s face reflecting
his life and what he has gone through
OPENING SCENE
- Pan shot From the shadows of the gate upwards which increases the tensions and feels
very regal, of people getting thrown around showing Ip Man’s strength and the violence of
the fight, zoom in shot of Ip and his wife in a family photo which feels very regal and
emphasises their wealth
- Ariel shot That moves down of them fighting which feels disorientating, Ip Man and the
other man circling each other making us feel like a bird of prey and mimics their movement
