Original sentence: (Logan, 1995).African-Americans and other racial minorities particularly embraced the genre, perhaps as an almost unprecedented source of adventure stories with non-white heroes, who furthermore often displayed a strong streak of racial and/or nationalistic pride.In subsequent titles like Executioners from Shaolin (1977), The 36th Chamber of Shaolin (1978), and Legendary Weapons of China (1982), Lau emphasized the traditions and philosophy of the martial arts and strove to give onscreen fighting greater authenticity and ever greater speed and intricacy.In the West, kung fu imports, dubbed and often recut and retitled, shown as "B" films in urban theaters and on television, made Hong Kong film widely noticed, although not widely respected, for the first time.Kung fu films were generally grittier and less mythical, their action sequences emphasizing more realistic, unarmed combat over the swordplay and supernatural powers of wuxia films.Lau began directing his own movies for Shaws in 1975 with The Spiritual Boxer, a progenitor of the kung fu comedy.Once again, at the vanguard was the Shaw Brothers studio, especially in the person of director Chang Cheh.Seriously trained martial artists became some of the top stars of the decade as increasing proportions of running times became devoted to combat setpieces
Edited sentence: African-Americans and other racial minorities particularly embraced the genre, perhaps as an almost unprecedented source of adventure stories with non-white heroes, who furthermore often displayed a strong streak of ethnic/nationalistic pride.He began directing for Shaws in 1975 with The Spiritual Boxer, a progenitor of the kung fu comedy.In subsequent titles like Executioners from Shaolin (1977), The 36th Chamber of Shaolin (1978), and Legendary Weapons of China (1982), Lau emphasized the traditions and philosophy of the martial arts and set a new standard for onscreen fighting.In the West, kung fu imports, dubbed and often recut, shown as "B" films in urban theaters and on television, made Hong Kong film widely noticed, although not widely respected, for the first time.Kung fu films were generally grittier and less mystical and mythical, their action sequences emphasizing more realistic, unarmed combat over the swordplay of wuxia.Once again, at the vanguard was Shaw Brothers, especially in the person of director Chang Cheh.Seriously trained martial artists became the stars of the decade as the action became ever faster, more intricate and more explicitly violent