The Chinese Exotic: Modern Diasporic FemininityHong Kong University Press, 2007 - 218 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 3 筆結果,共 20 筆
第 66 頁
... traditional Chinese femininity and reconfigures its use within a modern , diasporic context . According to Chua Beng - Huat , the " power cheongsam " emerged from the Asian values discourse and has effected a re - ethnicisation and ...
... traditional Chinese femininity and reconfigures its use within a modern , diasporic context . According to Chua Beng - Huat , the " power cheongsam " emerged from the Asian values discourse and has effected a re - ethnicisation and ...
第 103 頁
... traditional ' Chinese femininity ( the ' Chinese woman stereotype ' roles that Maggie Cheung rejected ) directly onto the screen . I aim to do this by locating the cross - cultural politics behind the Disney film Mulan . Although there ...
... traditional ' Chinese femininity ( the ' Chinese woman stereotype ' roles that Maggie Cheung rejected ) directly onto the screen . I aim to do this by locating the cross - cultural politics behind the Disney film Mulan . Although there ...
第 164 頁
... traditional , mainland Chinese identity . The second , related argument is that wuxia is the most masculine of the Chinese film genres.39 By claiming , and then re - envisioning or reinventing the wuxia film , Ang Lee succeeds in re ...
... traditional , mainland Chinese identity . The second , related argument is that wuxia is the most masculine of the Chinese film genres.39 By claiming , and then re - envisioning or reinventing the wuxia film , Ang Lee succeeds in re ...
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accessed 19 November action star actresses Ang Lee argues Asia Asian American Asian Australian Asian exotic Australian Fiancé autobiography body Bruce Lee centre chapter characterises Chinese Box Chinese diaspora Chinese exotic Chinese female Chow cinema colonial concept constructed context cosmopolitanism cross cross-cultural spectatorship Crouching Tiger Cultural Studies Derrida diaspora China diasporic Chinese femininity diasporic Chinese modernities discourse Disney economic ethnic ex-centric example exoticism fantasy fashion fiction figure film fold Geisha gender global Gong Li heterosexual Hidden Dragon Hong Kong identity images Irma Vep London Maggie Cheung Maggie's mainland Michelle Yeoh movement Mulan multiculturalism narrative non-sense novel Orientalism ornament politics popular culture postcolonial region relation relationship René representations of Chinese role Routledge screen sense sexuality Singapore space specific story suggests Tasker texts Tomorrow Never Tomorrow Never Dies translation trope University Press Vampires vertigo visibility Wang Wayne Wang West Western women wuxia York