... Chinese feminist and general cultural practices, repudiating the socialist integrated conceptualization of feminism and culture and canceling out the effect and significance of the pluralist cul- tural practices of the early post-Mao New Era.5 Chinese post-Mao feminism rose to visibility in this context...

... concerns are culturally specific. Chinese women are largely unaware of what feminism means in the West, although many of them have heard of the term. It came as an unpleasantsurprise to ZhangNuanxinto discover thatWestern women had difficulties entering the same professions as men, something she has...

... for homosexuality in the Chinese diaspora. The four videos ( Myth(s) of Creation, Mother/Land, Movements East-West , and [os] ) that make up Xin Lu: A Travelogue in Four Parts combine memoir with a meditation on the discursive construction of travel narratives. Building on Ma's earlier work ( Toc Storee and Slanted...

... in the international culture marketplace. —  Rey Chow, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Feminist film historiography has become a dynamic site of schol- arly activity in which the screen is indeed “a new type of ethno- graphic picture,” one...

... to both the loose usage and the overvaluation of the term trans­ 40  •  Camera Obscura nationalism (7). Wang, meanwhile, reengages long-­standing debates of transnational feminism and links them to film scholarship in the introduction to her collection Chinese Women’s Cinema: Trans- national...

... improbable state. In both their “missed encounters” with their pasts, Chinese “tradition” and western “modernity” for both Fleur and the Hong Kong colony seem to be less separate and separated and more the source of a prolonged and an unresolved anxiety. Ghostly Warriors: (Post)feminism in (Post...

... of gay men in the exotic glow of traditional Chinese opera, one can only speculate. But it seems clear that Farewell My Concubine has played its role in reifying the figure of the feminized gay Chinese man, a stereotype David Henry Hwang has so effectively critiqued through his play M. Butterfly...

... Obscura Meanwhile, as he dies, Song, Gallimard’s Chinese madame/mon- sieur, heads back to China on a passenger plane, saddened but safely released from the Orientalist myth. The Orientalist myth that begins with feminizing/fetishizing the Oriental Other thus flips to the opposite pole...

... and Screen on, film theory and critical theory. Dudley Andrew is Director of the Institute for Cinema and Culture at the University of Iowa. He is finishing a book on poetic realism. Chris Berry is a scholar of Chinese film. He has just completed a three year term of research in Beijing...

... Drum Song and Specters of Modernity Juliana Chang The showgirl’s striptease in Richard Rodgers and Oscar Hammer- stein’s Chinese American musical Flower Drum Song (dir. Henry Koster, US, 1961) is risqué to be sure, but the scandalous nature of the scene lies not in the success...

... female figures who have received only cursory attention in the histories of cinema, including stunt star Pearl White, the iconic French performer Musidora, the imported European vamp Pola Negri, the flapper heroine Colleen Moore, and the Chinese star Xuan Jinglin. Other essays revisit canonical stars...

... Copyright © 1990 by The Johns Hopkins University Press 1989 ooks Received 3 73 Feminism and Film Theory edited by Constance Penley. Routledge, 1988. $13.95. Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Tel...

... Press, 1994. $45.00. Tendencies by Eve Kosofsky Sedgewick. Duke University Press, 1993. $15.95. Women’s Pictures: Feminism and Cinema by Annette Kuhn. Verso, 1993. $17.95. In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America...

... characteristic, and that is that they like talking to themselves,fantasizing and remembering a lot. Especially Chinese women. They internalize a lot. You can even see that in small children. The girl in Army Nurse is very typical. Men are trained to be logical, but women seem to be more...

... really doing something different. This year the Festival took risks. This year I saw something different: I saw a South Korean Resnais-like ghost story (Lee Chang-Ho’s The Man With Three Cofins),a Chinese Fifth Generation love story/fable (Zhang Yimou’s Red Sorghum), a Taiwanese tale...

..., specializing in Chinese cinema, media, and literature. He graduated from the Department of Comparative Literature and the Film Studies Program at Yale University. His works have been published in Film History, Screen , and CLCWeb: Comparative Literature and Culture , and his book manuscript is titled...

..., 1991. $40.00. The Cinema of Jean Genet: Un Chant d’amour by Jane Giles. BFI Publishing, distributed by Indiana University Press, 1991. $29.95. Perspectives on Chinese Cinema edited by Chris Berry. BFI Publishing, dis- tributed by Indiana University Press, 1991. $21.95. InsidelOut: Lesbian...

..., eighties cinema, and recent film theory that investigates what it means to represent gender subjectivity as an apparatus. Rey Chow teaches in the Department of Comparative Literature at the Uni- versity of Minnesota, Minneapolis. She is the author of Woman and Chinese Modernity: the Politics...

... as Asian or Asian American. 24 conflates East Asians, Asian Americans, and West Asian ethnic groups together by representing all three as users as well as subjects of digital imaging technologies. Camera Obscura 2009 The CCTV image capture of Howard Bern in the Chinese embassy, 24, episode 21, aired...

... Kaige’s King of the Children” reads the film’s political and pedagogical argument as based on implicit claims about mascu- linity in a specific relation to national identity as well as to the status of the intellectual in contemporary Chinese culture. In “Masquerading as the American Male...