Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, Celine Parre?as Shimizu
Автор: Shimizu, Celine Parrenas Название: Hypersexuality of race ISBN: 082234033X ISBN-13(EAN): 9780822340331 Издательство: Wiley EDC Рейтинг: Цена: 4117.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
In The Hypersexuality of Race, Celine Parreñas Shimizu urges a shift in thinking about sexualized depictions of Asian/American women in film, video, and theatrical productions. Shimizu advocates moving beyond denunciations of sexualized representations of Asian/American women as necessarily demeaning or negative. Arguing for a more nuanced approach to the mysterious mix of pleasure, pain, and power in performances of sexuality, she advances a theory of “productive perversity,” a theory which allows Asian/American women—and by extension other women of color—to lay claim to their own sexuality and desires as actors, producers, critics, and spectators.
Shimizu combines theoretical and textual analysis and interviews with artists involved in various productions. She complicates understandings of the controversial portrayals of Asian female sexuality in the popular Broadway musical Miss Saigon by drawing on ethnographic research and interviews with some of the actresses in it. She looks at how three Hollywood Asian/American femme fatales—Anna May Wong, Nancy Kwan, and Lucy Liu—negotiate representations of their sexuality; analyzes 1920s and 1930s stag films in which white women perform as sexualized Asian characters; and considers Asian/American women’s performances in films ranging from the stag pornography of the 1940s to the Internet and video porn of the 1990s. She also reflects on two documentaries depicting Southeast Asian prostitutes and sex tourism, The Good Woman of Bangkok and 101 Asian Debutantes. In her examination of films and videos made by Asian/American feminists, Shimizu describes how female characters in their works reject normative definitions of race, gender, and sexuality, thereby expanding our definitions of racialized sexualities in representation.
Описание: In this compelling study, Damani J. Partridge explores citizenship and exclusion in Germany since the fall of the Berlin Wall. That event seemed to usher in a new era of universal freedom, but post-reunification transformations of German society have in fact produced noncitizens: non-white and "foreign" Germans who are simultaneously portrayed as part of the nation and excluded from full citizenship. Partridge considers the situation of Vietnamese guest workers "left behind" in the former East Germany; images of hypersexualized black bodies reproduced in popular culture and intimate relationships; and debates about the use of the headscarf by Muslim students and teachers. In these and other cases, which regularly provoke violence against those perceived to be different, he shows that German national and European projects are complicit in the production of distinctly European noncitizens.
Описание: This volume reframes the critical conversation about Shakespeare’s histories and national identity by bringing together two growing bodies of work: early modern race scholarship and adaptation theory. Theorizing a link between adaptation and intersectionality, it demonstrates how over the past thirty years race has become a central and constitutive part of British and American screen adaptations of the English histories. Available to expanding audiences via digital media platforms, these adaptations interrogate the dialectic between Shakespeare’s cultural capital and racial reckonings on both sides of the Atlantic and across time. By engaging contemporary representations of race, ethnicity, gender, sexuality, disability and class, adaptation not only creates artefacts that differ from their source texts, but also facilitates the conditions in which race and its intersections in the plays become visible. At the centre of this analysis stand two landmark 21st-century history adaptations that use non-traditional casting: the British TV miniseries The Hollow Crown (2012, 2016) and the American independent film H4 (2012), an all-Black Henry IV conflation. In addition to demonstrating how the 21st-century screen history illuminates both past and present constructions of embodied difference, these works provide a lens for reassessing two history adaptations from Shakespeare’s 1990s box office renaissance, when actors of colour were first cast in cinematic versions of the plays. As exemplified by these formal adaptations’ reappropriations of race in history, non-traditional Shakespearean casting practices are also currently shaping digital culture’s conversations about race in non-Shakespearean period dramas such as Bridgerton.
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