The Chinese Exotic: Modern Diasporic FemininityThe 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 84 頁
In most theorisations of action cinema , it is considered that action cinema is generically dominated by visuality and the spectacular . In the context of Western action and Hong Kong action respectively , Yvonne Tasker and Kwai ...
In most theorisations of action cinema , it is considered that action cinema is generically dominated by visuality and the spectacular . In the context of Western action and Hong Kong action respectively , Yvonne Tasker and Kwai ...
第 90 頁
The figure of the anagram shows how movement is constrained within the institutional framework of French art house cinema , predicated , as it is , upon intertextuality , quotation and forms of repetition and reversal .
The figure of the anagram shows how movement is constrained within the institutional framework of French art house cinema , predicated , as it is , upon intertextuality , quotation and forms of repetition and reversal .
第 93 頁
a > previous performances in Hong Kong action cinema , which have encoded her within a specific paradigm of Chinese femininity as a sexy , vampish character ( since Maggie is , in fact , playing herself ) .
a > previous performances in Hong Kong action cinema , which have encoded her within a specific paradigm of Chinese femininity as a sexy , vampish character ( since Maggie is , in fact , playing herself ) .
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action alternative American appears argues Asia Asian Asian Australian Australian becomes body centre chapter character characterises China Chinese Box Chinese exotic Chinese femininity cinema colonial concept concern constructed context created critical cross cross-cultural cultural described desire diasporic Chinese discourse discussed displacement dominant East economic emergence ethnic ex-centric example exchange exoticism fact fantasy fashion female figure film fold functions further gender global Hong Kong identity images interesting involved Irma Vep kind literature look Maggie marked meaning model minority movement multiculturalism narrative Never notes novel object operates Orientalism original ornament particular performative play politics popular positions possible practices production question reading refers region relation relationship representation represented role says screen sense shift South space specific stars story structure suggests texts translation University Vampires various visibility West Western whereby woman women writing