This paper reconsiders the paradoxical relationship between kung fu imaginary in cinema and modernity and suggests that the two can be potentially reconciled by the modernization/westernization of kung fu masters in some of the key martial arts productions in recent years, including Donnie Yen’s Ip Man trilogy (2008-2010) and Legend of the Fist: The Return of Chen Zhen (2010). In “Kung Fu: Negotiating Nationalism and Modernity”, Li Siu-leung puts forward a key motif that Hong Kong kung fu cinema is “self-dismantling” in the face of modern weapon (i.e. gun) and traditional martial artists are often disconnected with modern life. Citing a self-reflective scene in Tsui Hark’s Once Upon a Time in China (1991), in which a superb kung fu master is tragically shot down by an anonymous solider, and the writings of the great master Huo Yuanjia, who denies the usefulness of kung fu in a modern age, Li concludes that (cinematic) kung fu is “caught in a dilemma of representation – the traditional and the modern”. However, the representations of the masters in recent blockbusters have turned the stereotype upside down and implied that kung fu could develop a comfortable relationship with (post)modernity. Instead of focusing on the films’ nationalistic narratives (i.e. triumphant defeat of foreign invaders), I will scrutinize the seemingly trivial/fragmented events in the films that subvert the conventional perceptions of the kung fu masters and discuss their increased affiliations with western technology, language and culture. By establishing a new discourse of nationalist narrative that no longer feeds on exaggerated kung fu skills and fantasy, these co-productions are able to help (mainland) Chinese renegotiate and reassert their changing relationship with the (post)modern world.