..., incorporates multiple female gazes: not only that of the artist but also those of the subjects, who look at each other and at their own mirror reflections. Female Writer , a diptych consisting of a photograph and painting of the writer Zhao Bo, recalls paintings from the “beautiful women” genre. Though both...

... of “civilization and enlightenment” and the colonialist gaze of the author, a well-known pro-Japanese collaborator. The contradictory interplay between nationalism, colonialism, and the idea of “civilization and enlightenment” splits Tears of Blood into two women's stories: one focusing on a young Korean girl's...

... catalogues for the gaze of male connoisseurs on sightseeing tours, not enough like blueprints for female cultivation and distinction. This is true even though some books are in fact written and designed by women and even though...

..., I, Wai-­hung Yiu, taught a course titled “Consuming Japan: Beauty, Fashion, and Subculture.” After my talk on how moe (the “desired” or “the desirables”) influences teenaged female models, goddesses in the gaze of Hong Kong college boys...

... as a sexualized body with a sexualized gaze. The female viewer and the male viewer are positioned differently in relation to the work. According to Rosalind Coward, who analyzes sexual representations of women’s bodies, three codes...

... female protagonists in many Korean films are firmly fixed as incomplete and in desperate need of salvation in the form of (hetero)sexual satisfaction. By repeatedly reinforcing preset patterns of thought through the male gaze...

...- ments” of female celebs, otaku gaze, loser dogs, neah-­mo, tsiu-­mo, mo-­art, cheap chickens. And the authors show that people speak this language, as in “When all those otaku killers found their breasts flaccid and dangling, their faces...

... social- political conditions of the time. The enlarged size of the body, the exaggerated lines of the costume, the confrontational gaze, and inserted inscriptions work forcefully against the conventions of Cui Female- Subject Formation 209 Chinese portraiture. In doing so, the artist inserts himself...

... discursive subversion and visual eroticism. Repositioning women as the sexual sub- ject rather than the object, the series reverses the conventional notion of the gaze and foregrounds female sexual pleasure over male desire. The intended reversal also occurs in Cui Xiuwen s early oil painting series, Rose...

... gaze fixed on the Japanese male body is a central feature of the film’s visual organization and is therefore an apparent reversal of the normative gen- dered position (ix., the male looks, the female is looked at), thus inscribing...

.... (202) In this episode, the lookers are female and the objects of their gaze are husbands and effeminate boys, engaged in a scene of libidinal exchange. If positions 15:3  Winter 2007 592 we see...

... and female image, men’s voyeurism versus the female object.10 The decline of the male “gaze” did not result in a new narrative mode that negated or opposed patriarchy, however, for the new mode of repre...

... Press, 1993), chap. 3, offers a more critical reading, including an illuminating analysis of the male gaze and the appropriation of the female voice. I3 For a discussion of very early examples of this de-emphasis of the martial...

...Yiman Wang This article studies the interactions between the “foreign” female star body and the body of nation and national film historiography through the lens of the Hong Kong actress Maggie Cheung and her two crossover films, Centre Stage and Irma Vep . The premise of my argument...

... and female) who was not flamboyantly cross-dressed. The scene was, she said, a marvelous and self-consciously performative game of homoerotic flirtation. Her experience was not unique; like her, I have often found myself astounded...

... 444 essay “Film and the Masquerade,” characterizes the act of peeping as “a pleasure in seeing what is prohibited in relation to the female body. The image orchestrates a gaze, a limit, and its pleasurable transgression.”19 How...

... transvestitism (as Hansen observed) that provocatively parallels the literal transvestitism at the heart of the oyama performance. For Valentino’s detractors, the spectacle of a male star being subjected to the desiring gaze of female viewers smacked...

... was seen as a concomi- tant of this desiring male gaze. In the late 1920s and early 1930s, it was pri- marily men who are reported giving gifts to female performers, and primar- ily sio toan actresses receiving them. For example, a newspaper article...

... works on Xi’an into dia- logue with each other. When Jia’s novel is viewed through the fly’s figurative gaze, it becomes possible to look past the decadent, erotic veneer that has fascinated (and scandalized) most previous commentators of Fallen...

... City Independent, quoted in English and translated in Aeiyang hzcabao [North China pictorial], 19 April 1930 On his six-month tour across the United States in 1930, Mei Lanfang (1894-1961), Peking opera’s premier exponent of female roles...