The Chinese Exotic: Modern Diasporic FemininityHong Kong University Press, 2007年10月1日 - 228 頁 The Chinese Exotic examines new representations of diasporic Chinese femininity emerging from Asia Pacific modernities since the late twentieth century. Through an analysis of cultural artefacts such as films, popular fiction, food and fashion cultures, the book challenges the dominant tendency in contemporary cultural politics to define Chinese femininity from a mainland perspective that furthermore equates it with notions of primitivism. Rather, the book argues for a radical reconfiguration of the concept of exoticism as a frame for understanding these new representations. This engaging study raises important questions on the relationship between the Chinese diasporas and gender. The Chinese Exotic provides a timely critical intervention into the current visualizations of diasporic Chinese femininity. The book contends that an analysis of such images can inform the reconfigured relations between China, the Chinese diasporas, Asia and the West in the context of contemporary globalization, and in turn takes these new intersections to account for the complex nature of modern definitions of diasporic Chinese femininity. |
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第 1 到 5 筆結果,共 29 筆
第 34 頁
... says of Chinese Box , " It's a story within a story within a story ... and none of it really makes much sense . " 20 G. Allen Johnson , a reviewer for the San Francisco Examiner also characterises the film as a " conundrum " in his ...
... says of Chinese Box , " It's a story within a story within a story ... and none of it really makes much sense . " 20 G. Allen Johnson , a reviewer for the San Francisco Examiner also characterises the film as a " conundrum " in his ...
第 35 頁
... says : Hong Kong is , in the end so full of colours that it was impossible to even say what would pop out . I just thought , let it pop all over the damn place . In all of my other films , there was so much discipline and control about ...
... says : Hong Kong is , in the end so full of colours that it was impossible to even say what would pop out . I just thought , let it pop all over the damn place . In all of my other films , there was so much discipline and control about ...
第 37 頁
... says , " I really wanted to make the main character a bit of my own alter ego . The English journalist is probably closer to who I am . " When asked how he related to the character of John Chang , a Chinese entrepreneur in Hong Kong ...
... says , " I really wanted to make the main character a bit of my own alter ego . The English journalist is probably closer to who I am . " When asked how he related to the character of John Chang , a Chinese entrepreneur in Hong Kong ...
第 38 頁
... says that it was given democracy in 1984 as a ' present ' that can just be taken away . This metaphor of the ' present ' is another way of signifying the form of the film , and its box - like structure that is contentless , able to be ...
... says that it was given democracy in 1984 as a ' present ' that can just be taken away . This metaphor of the ' present ' is another way of signifying the form of the film , and its box - like structure that is contentless , able to be ...
第 45 頁
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