So no one should make the mistake and compare this to fantastic but somewhat historical movies like Hero. ½ In a world where people running as fast as the wind drag girls on leashes behind them like kites anything's possible. There is no narrative flow or even logic to the story and Kaige Chen is clearly just a hack Michael Bay wannabe, making this stir-fried turkey one of the worst examples of the Americanization of Asian cinema I've yet seen. Visually, the costume design is as attractive as you'd expect but there's also some very dodgy set design and an overuse of awful, cheap looking CGI. Inevitably trying to ape the epic scale and poetry of the likes of Crouching Tiger or Hero, The Promise is actually just a dim-witted fairy tale populated with badly acted cartoon characters who spout inane fortune cookie platitudes at one another. A famous and well respected general and his faithful slave vie for the affections of a beautiful princess while battling the evil ruler of their land. I also propose that Asia is a location that underscores the need to move beyond late 20th century cultural theory.Budgeted at 30 million dollars, Mo Gik (aka The Promise, Master of the Crimson Armor, and Wu Ji) was a major box-office success in China before receiving an international release. In the following pages I draw attention to a set of issues and questions that have to do with popular culture’s global circulation. It therefore implies that the earlier approaches critiquing globalization of cultural commodities may not suffice here and now. Whereas we could speak of Hollywood film as the cultural front-end of USA’s hegemonic ambitions, it is difficult to sustain a similar claim with respect to any Asian cultural industry. With specific reference to the Asia region, there is a noticeable lack of fit between the hegemonic intent as also economic interests of states and the locally specific meanings produced by traveling cultural commodities. Therefore, there is a need to shift the focus of our attention from a simple and politically correct critique of Orientalism to a) the recognition of its ubiquity and b) the political possibilities opened up by cultural forms that are saturated with stereotypes. It proposes that new approaches and reading strategies are required to understand the complex role played by popular cultural forms as they become global commodities and sink roots in contexts that are unlike their points of origin.

This paper addresses the challenges posed by the persistence of Orientalist imaging and stereotyping in contemporary cultural production.

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