Books and Articles - General

Asian American Media Reference Guide; A Catalog of More Than 1000 Asian American Audio-Visual Programs for Rent or Sale in the United States.

Edited by Bill J Gee. 2d ed. New York: Asian Cine Vision.

Media Center PN1998.A8 1990

Asian Amer PN1995.A8.G3 Ref.

An older, but still useful annotated catalog covering over 1,000 documentary and feature films by Asian Americans, as well as films by non-Asian work about Asian American culture and life, including Hollywood interpretations. Distributor information is provided.

Book, Esther Wachs.

"The East is hot: US audiences line up for films with a Chinese flavour." Far Eastern Economic Review v156, n51 (Dec 23, 1993):34 (2 pages).

The success of several recent films with Chinese themes indicates the American public's rising interest in Asian cultures. These films, which include 'The Joy Luck Club' and 'Farewell My Concubine,' probably presage the arrival of a new US film market. Increasing trade contacts with Asia, the visibility of Asian Americans and studio marketing account for this burgeoning demand for this genre. A key feature of these films is their depiction of real characters rather than stereotypes.

Budd, David H.

Culture meets culture in the movies : an analysis East, West, North, and South, with filmographies / David H. Budd. Jefferson, N.C. : McFarland, c2002.

Main Stack PN1995.9.I55.B83 2002

Compar Ethn PN1995.9.I55.B83 2002Housed at Ethnic Studies Library. Check there for availability.

Catania, John.

"Enter the (Diaspora) dragons: martial arts cinema and globalization: in the last decade martial arts film has undergone a renaissance in Asian and American Cinema. What was once considered 'oriental' filmmaking has been embraced by Western popular culture.(SPECIAL FEATURE SECTION)." Metro Magazine 148 (Spring 2006): 96(4)

UC users only

Chan, Anthony B.

""Yellowface": The Racial Branding Of The Chinese In American Theatre And Media." Asian Profile [Hong Kong] 2001 29(2): 159-177.

Traces the history of Yellowface, or Caucasians taking Chinese roles, in American theater and film from its origin in a 1767 Pennsylvania theater production to the films of the 1920's.

Chan, Jachinson.

Chinese American masculinities : from Fu Manchu to Bruce Lee / Jachinson Chan. New York : Routledge, 2001. Asian Americans.

Main StackP94.5.C57.C48 2001

Asian AmerP94.5.C57.C48 2001

Cho, Cindy; Hsiao, James; Hsu, Andy; Wang, Bea.

"Yellow Myths on the Silver Screen: The Representation of Asians in American Mainstream Cinema." [student papers, MIT]

Chua, L.

"Beyond the Mainstream." New York Times, 140: 12 Sect 2, August 11, 1991

Chung, Hye Seung

Hollywood Asian : Philip Ahn and the politics of cross-ethnic performance Published: Philadelphia : Temple University Press, 2006.

MAIN: PN1995.9.A78 C58 2006; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006010401.html

Countervisions: Asian American film criticism

Edited by Darrell Y.Hamamoto and Sandra Liu. Philadelphia: Temple University Press, 2000. Series title: Asian American history and culture.

UCBAsianAmer PN1995.9.A78 C68 2000 *c2 copies

UCB MainPN1995.9.A78 C68 2000

Darlin, Damon.

"The East is Technicolor." (motion pictures with Asian themes)Forbes v152, n11 (Nov 8, 1993):318 (1 page).

Motion pictures with Asian themes are becoming increasingly popular and profitable as Americans' respect for the US Asian population grows. For example, The Joy Luck Club has become the best-performing movie in wide release, outperforming Demolition Man.

Desai, Jigna.

Beyond Bollywood : the cultural politics of South Asian diasporic film New York : Routledge, 2004.

MAIN: PN1993.5.I8 D48 2004; MOFF: PN1993.5.I8 D48 2004

AASL: PN1993.5.I8 D48 2004; Housed at Ethnic Studies Library. PFA : PN1993.5.I8 D48 2004; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip045/2003012737.html

Dhillon-Kashyap, Perminder.

"Locating the Asian Experience. Screen, v. 29 (Autumn '88) p. 120-6

Faulk, Tina.

"Images of Asia: films reflect ambivalence felt by many." (Australian art and film)Far Eastern Economic Review v155, n47 (Nov 26, 1992):44 (2 pages).

"Portrayals of Asians and particularly the Japanese in Australian films depict the contradictory ideas that Australians have towards Asians. Cultural and racial attitudes which were ingrained in the Australian psyche after the world wars are changing slowly. Japan is now being viewed with tolerance because of the boost that she has given to the Australian economy and to tourism. But portrayals in Australian movies even during the 80s continue to confirm cultural and social stereotypes." [Expanded Academic Index]

Feng, Peter

"Ethnography, the cinematic apparatus, and Asian American film studies." In: Asian American studies after critical mass / edited by Kent A. Ono. Malden, MA : Blackwell Pub., 2005.

Main Stack E184.A75.A8418 2005

Asian Amer E184.A75.A8418 2005 Ref.

Table of contents http://www.loc.gov/catdir/toc/ecip0420/2004016172.html

Feng, Peter

Identities in motion : Asian American film and videoDurham [N.C.]: Duke University Press, c2002.

MAIN: PN1995.9.A77 F46 2002

Contents: Myths of origin: ethnography, romance, home movies. The camera as microscope: cinema and ethnographic discourse ; Pioneering romance: immigration, Americanization, and Asian women ; Articulating silence: Sansei and memories of the camps -- Travelogues. Decentering the middle kingdom: ABCs and the PRC ; Lost in the media jungle ; Tiana Thi Thanh Nga's Hollywood mimicry -- Performing transformation. Becoming Asian American: Chan is missing ; We're queer! We're where? Locating transgressive films ; Paying lip service: narrators in Surname Viet given name Nam and The joy luck club

Feng, Peter

"In Search of Asian American Cinema" (Race inContemporary American Cinema, part 3)Cineaste v21, n1-2 (Wntr-Spring, 1995):32 (4 pages).

Feng, Peter X.

"The politics of the hyphen." (defining Asian American cinema) Peter Feng. Cineaste Wntr-Spring 1995 v21 n1-2 p35(1)

UC users only "Asian American cinema presents a challenge in terms of definition. Most Asian American film scholars feel that the term, Asian American, needs to be clarified. The Asian part is construed as an adjective, which goes against grammatical rules. Considering that a hyphen should be placed between complex nouns defining another noun, Asian Americans feel that to be grammatically correct would derogate their identity as split in allegiance between two cultures, which is not the case." [Expanded Academic Index]

Feng, Peter X.

"The State of Asian American Cinema: In Search of Community. Cineaste 1999, 24:4, 20-24.

UC users only

"The state of Asian American feature filmmaking is examined, focusing on the generation succeeding Wayne Wang and Ang Lee. Filmmakers discussed include Michael Idemoto, Eric Nakamura, Chris Chan Lee, Quentin Lee, Justin Lin, Rea Tajiri, and Renee Tajima-Pena; and topics include Asian American identity, film budgeting, and the community established among filmmakers and between the film and the audience." [Expanded Academic Index]

Feng, Peter.

"Recommended Filmography of Contemporary Asian American Titles." Cineaste v21, n1-2 (Winter/Spring): 36 1995.

An annotated listing of 13 documentary titles by Asian American filmmakers about Asian American culture. Accompanies Feng's article on current Asian American cinema, "In Search of Asian American Cinema" (See Research and Writing section below).

Galbraith, J.

"Asian American Actors Meet to Break Stereotypes." Variety, 333:37 Jan. 18/24, 1989

Garcia, Roger.

Out of the shadows: Asians in American cinema Milan, Italy: Edizioni Olivares; New York: distributed by Asian CineVision, 2001.

MAIN: PN1995.9 .A78 G37 2001

Gender and culture in literature and film East and West: issues ofperception and interpretation: selected conference papers

Edited byNitaya Masavisut, George Simson, Larry E. Smith. Honolulu, Hawaii: Collegeof Languages, Linguistics, and Literature, University of Hawaii: East-WestCenter: Distributed by University of Hawaii Press, c1994. Series title: Literary studies--East and West; v. 9.

UCBAsianAmer PN1995.9.A8 G46

UCB MainPN1995.9.A78 G46 1994

Ghosh, Monica.

"What You Hear..., What You See... That's Not All You Get: (Filmed Representation of South Asians in the Diaspora)." Asian Cinema. 13 (2): 24-38. 2002 Fall-Winter.

Ghymn, Esther.

"Asians in Film and Other Media." In: Asian American studies : identity, images, issues past and present / edited by Esther Mikyung Ghymn. pp: 135-50. New York : P. Lang, c2000.

Asian Amer E184.A75.A8418 2000

Main Stack E184.O6.A8418 2000

Gopinath, Gayatri.

"Nostalgia, Desire, Diaspora: South Asian Sexualities in Motion." Positions: East Asia Cultures Critique. 5 (2): 467-89. 1997 Fall.

Haddad, John.

"The Laundry Man's Got A Knife! China And Chinese America In Early United States Cinema." Chinese America: History and Perspectives 2001: 31-46.

UC users only

"Describes the pioneering film industry's depiction of Chinese in China and the United States between 1894 and 1910 and how the industry reinforced earlier negative stereotypes found in American popular culture. The new technology reached a large segment of the public with images of cruel and devious Chinese as violators of white womanhood, unassimilable immigrants with strange ways and values, opium addicts, and objects of ridicule. Fewfilms attempted balanced portrayals of Chinese. From the unflattering coverage of Chinese emissary Li Hung Chang's 1896 visit to the United States to the cruelty of the anti-Christian Boxer soldiers, thenegative imagery prevailed until the 1910's, when Benjamin Brodsky produced a documentary on all parts of China for schools and other educational venues." [America History and Life]

Hagedorn, Jessica.

"Asian women in film: no joy, no luck." Ms. Magazine v4, n4 (Jan-Feb, 1994):74 (5 pages).

Asian Pacific women have generally been portrayed unfavorably in Hollywood movies. They are often cast as suB Missive, eager-for-sex women, as tragic victims, or as demonized villains. Most Western-made movies either exploit or trivialize Asian women as people of color and as women.

Hamamoto, Darrell Y.

Monitored peril: Asian Americans and the politics of TV representation / Darrell Y. Hamamoto. Minneapolis: University of Minnesota Press, c1994.

Main Stack PN1992.8.A78.H36 1994

Asian Amer PN1995.9.A8.H36

Holte, James Craig.

"Unmelting Images: Film, Television, and Ethnic Stereotyping." Melus. 11(3):101-108. 1984Fall.

Hoppenstand, Gary.

"Yellow Devil Doctors and Opium Dens: The Yellow Peril Stereotype in MassMedia Entertainment." In: Popular Culture: An Introductory Text / edited by Jack Nachbar and Kevin Lause. pp: 277-91. Bowling Green, OH: Bowling Green State University Popular Press, c1992.

Main StackE169.1.P5985 1992

MoffittE169.1.P5985 1992

Hsing, Chun.

Asian America Through the Lens: History, Representations, and Identity/Jun Xing. Walnut Creek, CA: AltaMira Press, c1998. Series title: Critical perspectives on Asian Pacific Americans series v.3.

UCBAsianAmer PN1995.9.A77 H75 1998 *c2 copies

UCB MainPN1995.9.A77 H75 1998

The first, and to-date only "sustained examination of Asian American independent films", Hsing's expressed goals in this book include broadening the public exposure to new Asian American films and filmmakers, and investigating both the complex nature of Asian representations and the role of Asian American artists over the course of mainstream film history. Includes an excellent bibliography and a good selective list of films.

Huey-Long Song, John; Dombrink, John.

"'Good Guys' and bad guys: media, Asians, and the framing of a criminal event." (Transnationalism, Media and Asian Americans) Amerasia Journal v22, n3 (Winter, 1996):25 (21 pages).

Media reports of a hostage-taking incident in a 'Good Guys' electronics store in Sacramento, California, by Asian youths reveal stereotypes associated with Asian Americans. The media portrayed the four young Asian hostage-takers as unemployed gangsters, aspiring to fame before returning to Thailand. Asian gangs usually committed crimes in their own community, but were now branching out to target other community. Asian communities experienced difficulties in communicating with the police due to the lack of Asian officers in the police departments. The media reports were based on prejudice and misconceptions.

Hwang, David.

"Are movies ready for real orientals?" New York Times v134, sec2 (Sun, Aug 11, 1985):H1(L), col 1, 45 col in.

Ito, Robert.

"'A Certain Slant': A Brief History of Hollywood Yellowface by Robert Ito (via Bright Lights Journal)

The history of blackface has been well documented in American film criticism; the history of yellowface has received much less critical attention, and considerably less public censure

Iwata, Edward.

"Asian movies take flight." (Asian-American directors and films move into mainstream) Los Angeles Times v112 (Thu, May 13, 1993):F1, col 2, 37 col in.

Jen, G.

"Challenging the Asian Illusion." New York Times, 140-1+:Sect 2, August 11, 1991

Jiwani, Yasmin.

"The Eurasian Female Hero(Ine): Sydney Fox as Relic Hunter." Journal of Popular Film and Television 2005 32(4): 182-191.

UC users only

"In contrast to historical representations of women of color as victims and villains, the author argues that the portrayal of contemporary women of color as heroines can be linked to globalization, the economic power of Asian minorities, and prevailing discourses of multicultural-ism. Drawing on the television series Relic Hunter, the author outlines the use of the racialized female hero as a strategic sign to appease social anxieties, resolve contradictions, and manage difference." [Art Index]

Kang, L. Hyun-Yi.

"Desiring of Asian female bodies: interracial romance andcinematic subjection" Visual Anthropology Review, v. 9, no. 1, 1993. pp. 5-21.

Kashiwabara, Amy

"Vanishing Son: The Appearance, Disappearance, and Assimilation ofthe Asian-American Man in American Mainstream Media." UCB Student paper

Kirihara, Donald

"The Accepted Idea Displaced: Stereotype and Sessue Hayakawa" In: The Birth of Whiteness / edited by Daniel Bernardi.pp. 81-99. New Brunswick, N.J.: Rutgers University Press, c1996.

Main Stack PN1995.9.M56.B57 1996

Larson, Stephanie Greco

Media & minorities: the politics of race in news and entertainment Lanham : Rowman & Littlefield, c2006.

Main Stack PN1995.9.M56.L37 2006

Lee, Joann Faung Jean

Asian American actors : oral histories from stage, screen, and television / by Joann Faung Jean Lee. Jefferson, N.C. : McFarland, c2000.

Main Stack PN2286.2.L44 2000

Asian Amer PN2286.2.L44 2000

Lee, Robert G.

Orientals: Asian Americans in popular culture / Robert G. Lee. Philadelphia: Temple University Press, 1999. Asian American history and culture.

Main StackE184.A75.L48 1999

Asian Amer E184.A75.L48 1999

Man, Glenn.

"Marginality and Centrality: The Myth of Asia in 1970s Hollywood." East-West Film Journal vol. 8 no. 1. 1994 Jan.pp: 52-67.

Examines the portrayal of Asians as marginal figures and stereotypes in1970's Hollywood films. Discusses esp. "McCabe and Mrs. Miller","Chinatown" and "The Deer Hunter".

Mandalia Sejal .

"Stereotypes: I don't dream of Bollywood." (observations) New Statesman (1996), Nov 29, 2004 v133 i4716 p15(1)

UC users only

Marchetti, Gina.

"From Fu Manchu to M. Butterfly and Irma Vep: cinematic incarnations of Chinese villainy." In: Bad : infamy, darkness, evil, and slime on screen / edited by Murray Pomerance. Albany : State University of New York Press, c2004. The SUNY series, cultural studies in cinema/video

Main Stack PN1995.9.E93.B33 2004

Marchetti, Gina.

"Passport Seductions: Lady of the Tropics." In: Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction / Gina Marchetti.pp. 67-77. Berkeley: University of California Press, c1993.

UCBAsianAmer PN1995.9.A8 M37 *c2 copies

UCB Main PN1995.9.A78 M37 1993

UCB Moffitt PN1995.9.A78 M37 1993

Marchetti, Gina.

Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction / Gina Marchetti. Berkeley: University of California Press, c1993.

UC users only

UCBAsianAmer PN1995.9.A8 M37

UCB MainPN1995.9.A78 M37 1993

UCB MoffittPN1995.9.A78 M37 1993

Minh-Ha T. Pham.

"The Asian invasion (of multiculturalism) in Hollywood." Journal of Popular Film and Television Fall 2004 v32 i3 p121(11) (8328 words)

UC users only

"The author investigates how national and transnational discourses of multiculturalism operate on Hollywood's representation of Asian bodies in two popular films, Rush Hour (1998), a conventionally produced Hollywood film set in post-riot Los Angeles, and Crouching Tiger, Hidden Dragon (2000), a transnationally produced film set in nineteenth-century mythical China." [Expanded Academic Index]

Moon, Krystyn R.

Yellowface : creating the Chinese in American popular music and performance, 1850s-1920s New Brunswick, N.J. : Rutgers University Press, c2005.

MUSI: ML3477 .M66 2005

BANC: ML3477 .M66 2005

AASL: ML3477 .M66 2005; Spec. Coll. (copy 1)\ Housed at Ethnic Studies Library. View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip0416/2004007534.html

Moving the Image: Independent Asian Pacific American Media Arts. Edited and introduced by Russell Leong, with a Preface by Linda Mabalot. Los Angeles: UCLA Asian American Studies Center and Visual Communications, Southern California Asian American Studies Central, 1991.

Asian Amer PN1995.9.A85Housed at Ethnic Studies Library. Check there for availability.

MoffittP94.5.A84.M6 1991

A collection of provocative and informative essays, interviews, and anecdotes by 50 Asian American filmmakers, media artists, and writers. Attempts to define the Asian Pacific American media arts and describe their development from 1970 to 1990. Includes extensive resource listings and filmographies.

Moys, James S.

Marginal sights : staging the Chinese in America. Iowa City : University of Iowa Press, c1993.

MAIN: PS159.C5 M69 1993Marginal sights : staging the Chinese in America MOFF: PS159.C5 M69 1993Marginal sights : staging the Chinese in America AASL: PN6071.C5 T4

Mura, David.

"How America unsexes the Asian male." (in movies and on television) New York Times v145 (Thu, August 22, 1996):C9(L), col 1, 30 col in.

No Hop Sing, no Bruce Lee: what do you do when none ofyour heroes look like you? [videorecording]

Produced and directed by Janice Tanaka.

Film excerpts and actor interviews: Danger Island / Peter Lorre -- Year of livingdangerously / Linda Hunt -- Auntie Mame / Yuki Shimoda -- Pink Pantherstrikes again / Herbert Lom -- Seinfeld / Dom Magwili -- Sixteen candles /Gedde Watanabe -- Bonanza / Victor Sen -- Green Hornet / Bruce Lee -- FlashGordon / Max von Sydow -- Hook / Dante Basco -- Big trouble in Little China /Dennis Dun, James Hong -- Kung Fu / David Carradine -- American ninja /Guich Koock -- Fiendish plot of Fu Manchu / Peter Sellers -- Under therainbow -- Seven faces of Dr. Lao / Tony Randall -- Marlow / Bruce Lee --Terror of the Tong / Christopher Lee -- Karate Kid / Pat Morita -- Teahouse ofthe August Moon / Marlon Brando.

Media Center Video/C 7022

Oehling, Richard A.

"Hollywood And The Image Of The Oriental, 1910-1950." Film and History 1978 8(2): 33-41; (3): 59-67.

"Part I. Discusses the negative image (presented in Hollywood films) of Japanese and Chinese during the 1910's and 1920's. Part II. Hollywood stereotypes of Asians during 1930-50 included the idea of the honor of suicide, propensity for torture and suffering, susmissiveness among women, and conservatism and cohesiveness within the family." [America History and Life]

Okada, Jun.

"The PBS and NAATA connection: comparing the public spheres of Asian American film and video." Velvet Light Trap 55 (Spring 2005): 39(13).

UC users only

Park, Jane; Wilkins, Karin

"Re-orienting the Orientalist Gaze." Global Media Journal v. 4, no. 6, Spring 2005

Pham, Minh-Ha T.

"The Asian Invasion (of Multiculturalism) in Hollywood." Journal of Popular Film and Television 2004 32(3): 121-131

UC users only

"The author investigates how national and transnational discourses of multiculturalism operate on Hollywood's representation of Asian bodies in two popular films, Rush Hour (1998), a conventionally produced Hollywood film set in post-riot Los Angeles, and Crouching Tiger, Hidden Dragon (2000), a transnationally produced film set in nineteenth-century mythical China." [Art Index]

Punathambekar, A.

"Bollywood in the Indian-American diaspora: Mediating a transitive logic of cultural citizenship." International Journal of Cultural Studies, vol. 8, no. 2, pp. 151-173, 2005 "This article brings together ethnographic detail and a thematic reading of Kabhi Khushi Kabhie Gham (K3G) to examine the mediation of consensus regarding "Indianness" in the diaspora. The author argues that K3G's emotional resonance with viewers in the diaspora is attributable in part to the departure that its narrative marks from Hindi cinema's earlier efforts to recognize and represent expatriate Indians. In positioning and drawing the diaspora into the fold of a "great Indian family," K3G articulates everyday struggles over being Indian in the United States to a larger project of cultural citizenship that has emerged in relation to India's tentative entry into a transnational economy and the centrality of the nonresident Indian figure to India's navigation of this space. The author argues that this process of mediation follows a transitive logic involving K3G's representational strategies, first-generation Indian immigrants' emotional investment in the idea of India, and the Indian nation-state's attempts to forge symbolic and material ties with the expatriate community." [Communication Abstracts]

Queer Asian cinema: shadows in the shade / Andrew Grossman, editor. New York: Harrington Park Press, c2000.

Main Stack PN1995.9.H55.Q39 2000

"Recommended Filmography of Contemporary Asian American Titles." Cineaste, 21: 36 n 1/2 1995

Renee Tajima reads Asian images in American film New York : Paper Tiger Television, [1984].

AVMC: VIDEO/C 2579

Richie, D.

"Inventing Spectres: The East as Hollywood Saw It." Cinemaya, n 17/18, Autumn/Winter 1992/3, pp: 40-4

Robinson, Kathryn.

"Of Mail-Order Brides and 'Boys' Own Tales: Representations ofAsian-Australian Marriages." Feminist Review, vol. 52. 1996 Spring. pp: 53-68.

Screening Asian Americans

Edited and with anintroduction by Peter X. Feng. New Brunswick, N.J.: Rutgers University Press, c2002.

MAIN: PN1995.9.A77 S79 2002

Rueschmann, Eva

"Mediating Worlds/Migrating Identities: Representing Home, Diaspora and Identity in Recent Asian American and Asian Canadian Women's Films." In: Moving pictures, migrating identities / Eva Rueschmann. Jackson : University Press of Mississippi, c2003.

Main Stack PN1995.9.E44.R84 2003

Compar Ethn PN1995.9.E44.R84 2003

Russell, C.

"New Women of the Silent Screen: China, Japan, Hollywood." [Introduction to special issue]. Camera Obscura no. 60 (2005) p. IV, 1-13 Peer Reviewed

"Part of a special issue on the representation of Japanese and Chinese women in silent Hollywood movies of the 1920s and 1930s. The writer introduces the topic. The essays in the section, presented as part of the 2004 "Women and the Silent Screen" conference, held in Montreal, Canada, suggest the Asian context as another front for the continuing investigation of gender in the era of silent movies. In the late 1920s and early 1930s, the film industries were consolidated in both China and Japan within complex networks of discourses of nationalism, orientalism, and gender; in Europe and North America, meanwhile, Asian women appeared in silent films as key representations of orientalist ideology. The American, European, and Asian films discussed in this special issue show that the figure of the "New Woman" took on a range of personalities and appearances as she moved across cultures and national cinemas. In both the West and the East, cultural otherness became a significant way of articulating new gender norms within the mass media." [Art Index]

Sawhney, Cary Rajinder.

"'Another Kind of British': An Exploration of British Asian Films." Cineaste. 26(4):58-61. 2001 Fall

UC users only

"A discussion of British-Asian film. In the UK, the term "Asian" usually describes the ethnicity of peoples originating from India, Pakistan, Bangladesh, and Sri Lanka, and British-Asian films for the most part have Asian themes and some common features. While British films with Asian themes have been developing a distinctive identity and hybrid aesthetic with links to different sources, they are arguably most closely related to other "black" films in Britain. These share approaches that have changed over the past 20 years from essentially issue-based work challenging social injustice to more commercially viable features exploring a diverse range of experiences. The writer goes on to examine the history of British-Asian film since the 1980s, the themes and aesthetics of British-Asian films and their parallels with other cinemas, and shifting attitudes in Britain toward Asian cultures." [Art Index]

Seidel, Kathryn Lee. Wang, Alvin Y.

"Asians and Aliens in Cyberculture Film and Fiction." Hybridity: Journal of Cultures, Texts and Identities. 1 (1): 17-29. 2000.

Sengupta, Somini.

"Asian-American films speak a new language of multicultural variety." (AsianAmerican International Film Festival in New York City) (Living Arts Pages) New York Times v146 (Mon, July 28, 1997):B4(N), col 1, 23 col in.' New York Times v146, n207 (Sat, July 26, 1997):14(L), col 5, 20 col in.

Sex, love, & kung fu[Video]

Chicago : Video Data Bank, c2000.

A comical look at two crazed kung fu fanatics who argue over Asian Americanmasculinity and the nature of martial arts films. Includes clips from the filmsShowdown in little Tokyo, Kung fu, and Enter the dragon.

Media Resources Center: VIDEO/C 8318

Shim, Doobo.

"From yellow peril through model minority to renewed yellow peril." (Asians in popular media)(Constructing (Mis)Representations) Journal of Communication Inquiry v22, n4 (Oct, 1998):385 (25 pages).

UC users only

"Asian Americans have almost always been portrayed in mass media as stereotypes. Mid-19th-century articles and pamphlets warned white America of a Yellow Peril, a horde of Japanese and Chinese who would destroy US civilization, and this led to Asian villains in books and films that persisted through the 1980s. The stereotype of Asians as model minorities began in the 1960s, and the false image returned to demonizing Asians in the 1980s." [Magazine Index]

Thi Thanh Nga.

"The long march from Wong to Woo: Asians in Hollywood." (Race in Contemporary American Cinema: Part 5)Cineaste v21, n4 (Fall, 1995):38 (3 pages).

Asians have suffered demeaning portrayals in US films since they were frequently shown as cruel and mysterious adversaries. Actress Anna May Wong fought for good roles and was disappointed by the early film industry, as was Bruce Lee later in the 1970s. Asians were stereotyped and Asian actors took on roles that did not consider their actual ethnicity. More accurate portrayals of Asians and Asian-Americans have been produced in the 1980s and 1990s, including 'The Joy Luck Club' and 'Chan is Missing.'

Visions of the East: orientalism in film

Edited by Matthew Bernstein and Gaylyn Studlar. New Brunswick, N.J. : Rutgers University Press, c1997.

Main Stack PN1995.9.E95.V57 1997

UC users only

Wada-Marciano, Mitsuyo

"Imaging Modern Girls in the Japanese Woman's Film." Camera Obscura no. 60 (2005) p. 14-55

"Part of a special issue on the representation of Japanese and Chinese women in silent Hollywood movies of the 1920s and 1930s. The writer examines how national and modern gender identities converged in the Japanese "woman's film" (josei eiga) genre in the interwar period. She offers a definition of this genre based on audience composition and the genre's place within the Japanese film industry in the 1920s and 1930s. From this definition, she develops the problem of the critical stance toward cultural discourse at this time by examining Miriam Silverberg's ideas on the identity play of the 1930s as it was often depicted through images of the central trope of these films, the moga or modern girl. She then offers some alternative structures for understanding the apparent changes in Japanese identity in the historical swing between modernity and 1930s nationalism. She presents an analysis of two representative woman's films, Ozu Yasujiro's Woman of Tokyo and Gosho Heinosuke's A Burden of Life, arguing that the moga figure in these films exemplifies how the Japanese woman's film constructed an imagined female subjectivity as a visible reenactment of Japanese anxiety over the interior transformative aspects of modernity." [Art Index]

Who is Albert Woo? [videorecording]

National Film Board of Canada ;director, Hunt Hoe ; writers, Hunt Hoe and David Sobelman ; producer,Germaine Ying Gee Wong

Through interviews with Jackie Chan and other modern Asian men, thisprogram examines the way identities are shaped by the media, history andcultural legacy and considers to what extent reductive stereotypes, such asthe Yellow Peril and the martial arts master, distort reality.

Media Center Video/C 8044;

Wong, Eugene Franklin.

On Visual Media Racism: Asians in the American Motion Pictures / Eugene Franklin Wong. New York: Arno Press, 1978.Series title: The Asian experience in North America: Chinese and Japanese.

UCBAsianAmer PN1995.9.W6 O5

Wong, L.

"Remodeling Asian Media." Afterimage, 18, May 1991, pp: 14-15

Yue, Audrey.

"Asian-Australian Cinema, Asian-Australian Modernity." Journal of Australian Studies (June, 2000):190.

Yue, Audrey.

"Asian-Australian Cinema, Asian-Australian Modernity." Journal of Australian Studies (June 2000): 190.

UC users only

Web Resources

Asian American Film

An interesting dot-com site devoted to building "an engaged, involved, active, and excited audience for Asian American films." Along with providing resources for filmmakers (chat and message space, employment information), the site includes a database of mostly independently-produced films by Asian American filmmakers. Entries include short annotations, production and distribution information. Site includes links to online and print reviews.

Cho, Cindy; Hsiao, James; Hsu, Andy; Wang, Bea.

"Yellow Myths on the Silver Screen: The Representation of Asians in American Mainstream Cinema".

An excellent group of student papers from MIT, done as part of an Asian American Studies class.1999?

Books and Articles About Individual Films in the MRC Collection

Bhaji On The Beach

Anwar, Farrah.

"Bhaji On The Beach." Sight and Sound v4, n2 (Feb, 1994):47 (2 pages).

Bhatia, Nandi.

"Women, Homelands, and the Indian Diaspora." Centennial Review. 42 (3): 511-26. 1998 Fall.

Ciecko, Anne.

"Representing the Spaces of Diaspora in Contemporary British Films by Women Directors." Cinema Journal. 38 (3): 67-90. 1999 Spring.

Eleftheriotis, Dimitris.

"Cultural Difference and Exchange: A Future for European Film." Screen. 41 (1): 92-101. 2000 Spring.

Hornaday, Ann.

"Bhaji On The Beach." Migration World Magazine v22, n5 (Nov-Dec, 1994):45 (2 pages).

UC users only

Hornaday, Ann.

"In 'Bhaji on the Beach,' Feminism Meets the Diaspora." New York Times v143, sec2 (Sun, May 22, 1994):H29(N), H29(L), col 3,

Hussain, Yasmin

"Bhaji on the beach and Bend it like Beckham : Gurinder Chadha and the 'desification' of British cinema." In: Writing diaspora : South Asian women, culture, and ethnicity Aldershot, Hants, England ; Burlington, VT : Ashgate, c2005.

Main Stack PR129.A785.Y37 2005

Table of contents http://www.loc.gov/catdir/toc/ecip0510/2005008912.html

Maslin, Janet.

"Bhaji On The Beach." New York Times v143 (Sat, March 19, 1994): 12(N), 13(L), col 1, 15 col in.

Quart, Leonard.

"Bhaji On The Beach." Cineaste v20, n4 (Oct, 1994):48 (2 pages).

UC users only

Singh, Jaspal Kaur.

"Globalization, Transnationalism, and Identity Politics in South Asian Women's Texts." Michigan Academician. 35 (2): 171-88. 2003 Summer.

Singh, Jaspal Kaur.

"Singh, Jaspal. Representing the Poetics of Resistance in Transnational South Asian Women's Fiction and Film." South Asian Review. 24 (1): 202-19. 2003.

Stuart, Andrea.

"Blackpool Illumination." Sight and Sound, vol. 4 no. 2. p.26-27,47-48

Director Gurinder Chadha speaks about "Bhaji on the beach": her use of comedy, representation of Asian women, and her work as a female Asian filmmaker in Britain.

Yasmin Hussain.

"Bhaji on the beach and Bend it like Beckham : Gurinder Chadha and the 'desification' of British cinema." In: Writing diaspora : South Asian women, culture, and ethnicity Aldershot, Hants, England ; Burlington, VT : Ashgate, c2005.

Main Stack PR129.A785.Y37 2005

Broken Blossoms

Better Luck Tomorrow

Hsu, Hua

"Film: Making Luck: Justin Lin on Asian Hollywood." The Village Voice 48:16 [16 April 2003-22 April 2003] p. 124

Full-text available via International Index to the Performing Arts (UCB users only)

McCarthy, Todd.

"Better Luck Tomorrow. (Sundance)." Variety 385.9 (Jan 21, 2002): 36(2).

UC users only

Noh, David.

"Better Luck Tomorrow. (Buying & Booking Guide).(Movie Review)." Film Journal International 106.4 (April 2003): 41(1).

UC users only

Park, Ed

"Film: Woo Tang: Faking the Grade." The Village Voice 48:15 [9 April 2003-15 April 2003]

Full-text available via International Index to the Performing Arts (UCB users only)

Smith, Gavin.

"'Better Luck Tomorrow'." Film Comment 38 (2): 64-+ MAR-APR 2002

Thrupkaew, Noy.

"Filmic face-lift: Better Luck Tomorrow makes over Asian American cinema. (Film)." The American Prospect 14.5 (May 2003): 41(2).

UC users only

Wang, Oliver.

"Justin Lin: the Sundance kid. (Interview)." Mother Jones 27.5 (Sept-Oct 2002): 84(2).

UC users only

Chan Is Missing

Brouwer, Joel R.

"Images of Indeterminacy: Wayne Wang's Visual Representation of EthnicIdentity in The Joy Luck Club (1993) and Chan is Missing (1982." Michigan Academician vol. 29 no. 4. 1997Aug. pp: 505-10.

Canby, Vincent. "Chan is Missing."

New York Times v132, sec2 (Sun, Dec 26, 1982):H17(N), H17(L), col 1
New York Times v131 (Sat, April 24, 1982):12(N), 13(L), col 2,
New York Times v131, sec2 (Sun, May 2, 1982):D19(N), D19(L), col 5

Denzin N. K.

"Chan Is Missing - The Asian Eye Examines Cultural Studies." Symbolic Interaction, 1994 Spring, V17 N1:63-89.

Dittus, Erick.

"Chan Is Missing: An Interview with Wayne Wang." Cineaste, vol. 12 no. 3. 1983. pp: 17-20.

Feng, Peter.

"Being Chinese American, Becoming Asian American: Chan Is Missing." Cinema Journal, vol. 35 no. 4. 1996 Summer. pp: 88-118.

The role of Wayne Wang's film "Chan is missing" in forging a contemporary sense of identity for Asians living in the USA.

also in Screening Asian Americans / edited and with an introduction by Peter X. Feng. pp: 185-216 New Brunswick, N.J. : Rutgers University Press, c2002. Rutgers depth of field series.

Main Stack PN1995.9.A77.S79 2002

Asian Amer PN1995.9.A77.S79 2002

French, Sean

"In Chinatown." (Review).Sight & Sound LV/4, Autumn 86; p.287-288.

Galperin, William.

"'Bad for the Glass': Representation and Filmic Deconstruction in 'Chinatown' and 'Chan Is Missing'."MLNvol. 102 no. 5, 1987 Dec.

Ghymn, Esther.

"Asians in Film and Other Media." In: Asian American studies : identity, images, issues past and present / edited by Esther Mikyung Ghymn. pp: 135-50 New York : P. Lang, c2000.

Asian AmerE184.A75.A8418 2000Housed at Ethnic Studies Library. Check there for availability.Library has: 2 copies

Horton, Andrew

"Chan is Missing." (Review).Films in Review XXXIII/10, Dec 82; p.623-624.

Rosenbaum, Jonathan

"Wayne Wang." (Interview). Sight & Sound LII/2, Spring 83; p.79-80.

W.W. comments on the making of his film "Chan is missing", and his plans for future projects.

Tang, Edward.

"Transpacific Worlds: Visualizing Asian America In Chan Is Missing And Dim Sum." Prospects 2002 27: 569-593.

"The effort to invent and depict an authentic cultural identity for Asian immigrants in the United States involves a battle against a proliferation of false images circulated throughout popular culture. Two feature-length motion pictures, both independently produced under the direction of Wayne Wang, Chan Is Missing (1982) and Dim Sum: A Little Bit of Heart (1985), dramatize the difficulty and complexity faced by Asian immigrants seeking to negotiate a hybrid cultural identity. Both films parody conventional media characterizations of Asian immigrants as a way of critiquing Hollywood's attempts at perceiving and portraying Asian Americans." [America: History and Life]

The Cheat

Come See the Paradise

Ansen, David.

"Come See the Paradise." (movie reviews) Newsweek v117, n2 (Jan 14, 1991):54.

Come See the Paradise. (movie reviews)

Time v137, n1 (Jan 7, 1991):75.

Fraser, Peter.

"Come See the Paradise." (movie reviews) Times Educational Supplement, n3883 (Dec 7, 1990):42.

James, Caryn.

" "Come See the Paradise." (movie reviews) New York Times v140, sec1 (Sun, Dec 23, 1990):20(N), 42(L), col 5, 14 col.in.

Maslin, Janet.

"Come See the Paradise." (movie reviews) New York Times v139, sec2 (Sun, May 20, 1990):H17(N), H17(L), col 1, 28 col in.

Payne, R.

"The Color of Paradise." (Article).Jump Cut /37, July 92; p.51-55.Discusses the treatment of "Come see the paradise" towards its Asian-US subject.

Seidenberg, Robert.

" "Come See the Paradise: Tamlyn Tomita Felives Her Family's History." (motionpicture about internment of Japanese-Americans during World War II) American Film v16, n1 (Jan, 1991):48 (2 pages).

Travers, Peter.

"Come See the Paradise." (movie reviews) Rolling Stone, n595 (Jan 10, 1991):55.

Dim Sum

Ebert, Roger. Review.

Chicago Sun-Times 10/18/1985 Reviews: A Great Wall / Dim Sum

Jacobson, Brooke.

"Dim Sum" (film review) Film Quarterly 40: 2 (Winter 1986) pp. 48+

Storhoff, Gary

"'Even Now China Wraps Double Binds around My Feet': Family Communication in The Woman Warrior and Dim Sum." Reading the family dance : family systems therapy and literary study / edited by John V. Knapp and Kenneth Womack. Newark : University of Delaware Press ; London ; Cranbury, NJ : Associated University Presses, c2003.

Main Stack PN56.F3.R43 2003

Tang, Edward.

"Transpacific Worlds: Visualizing Asian America In Chan Is Missing And Dim Sum." Prospects 2002 27: 569-593.

"The effort to invent and depict an authentic cultural identity for Asian immigrants in the United States involves a battle against a proliferation of false images circulated throughout popular culture. Two feature-length motion pictures, both independently produced under the direction of Wayne Wang, Chan Is Missing (1982) and Dim Sum: A Little Bit of Heart (1985), dramatize the difficulty and complexity faced by Asian immigrants seeking to negotiate a hybrid cultural identity. Both films parody conventional media characterizations of Asian immigrants as a way of critiquing Hollywood's attempts at perceiving and portraying Asian Americans." [America: History and Life]

Thomson, David

"Chinese Takeout."Film Comment XXI/5, Sept-Oct 85; p.23-28. illus. Director W.W. talks about his upbringing, his influences and his films, esp."Dim Sum a Little Bit of Heart".

"Wayne Wang. (interview with independent filmmaker)." American Film 10 (July-August 1986): 17(3).

Double Happiness

Interview with Sandra Oh and Mina Shum

Golfman, Noreen.

"Double Happiness." (movie reviews) Canadian Forum v74, n843 (Oct, 1995):25 (2 pages).

Interview with Sandra Oh and Mina Shum

Johnson, Brian D.

"A Bold and Blissful Leap of Faith.: (the motion picture 'Double Happiness') Maclean's v108, n31 (July 31, 1995):42 (3 pages).

Klawans, Stuart.

"Double Happiness." (movie reviews) Nation v261, n6 (August 28, 1995):216.

O'Neill, Edward R.

"Asian American filmmakers: the next generation?: identity, mimicry and transtextuality in Mina Shum's Double happiness and Quentin Lee and Justin Lin's Shopping for fangs." CineAction nr 42 (Feb 1997); p 50-62

Explores transtextuality and cultural identity in two Asian-American films that de-emphasize Asian difference

Eat a Bowl of Tea

Denby, David.

"Eat a Bowl of Tea." (movie reviews) New York v22, n33 (August 21, 1989):128.

Hinson, Hal.

Review. Washington Post, September 01, 1989.

Howe, Desson.

Review. Washington Post, September 01, 1989.

James, Caryn.

"Eat a Bowl of Tea." (The Law) (movie reviews) New York Times v138 (Fri, July 21, 1989):B9(N), C13(L), col 1, 15 col in.

Jinqi Ling

"Reading for Historical Specificities: Gender Negotiations in Louis Chu's'Eat a Bowl of Tea.'" MELUS v20, n1 (Spring, 1995):35 (18 pages).

Li, Shu-yan.

"Otherness and Transformation in 'Eat a Bowl of Tea' and 'Crossings.'" MELUS v18, n4 (Winter, 1993):99 (12 pages).

Salamon, Julie.

"Eat a Bowl of Tea." (movie reviews) Wall Street Journal (Thu, July 20, 1989):A12(W), A12(E), col 1, 15 col in.

A Great Wall

Ebert, Roger.

"A Great Wall." (movie reviews) Chicago Sun-Times 07/18/1986

Glaessner, Verina

"A Great Wall." (Review+Interview).Monthly Film Bulletin LIV/642, July 87; p.196-198.

Shirley Sun, producer, co-writer and second unit director, and Peter Wang, director, talk about their film "The Great Wall is a Great Wall".

Goodman, Walter.

"A Great Wall." (movie reviews) New York Times v135 (Fri, May 30, 1986):18(N), C18(L), col 1, 10 col in.

Jacobson, B.

"A Great Wall. Dim Sum." (Review).Film Quarterly XL/2, Winter 86-87; p.48-53.

Light, G.

"The Great Wall." (Review).Films in Review XXXVII/10, Oct 86; p.484-485.

Solomon, Julie.

"A Great Wall." (movie reviews)Wall Street Journal (Thu, May 29, 1986):26(W), 28(E), col 1, 19 col in.

The Joy Luck Club

Reviews:

Bowman, James.

"The Joy Luck Club. (movie reviews)" American Spectator v26, n11 (Nov, 1993):70.

Denby, David.

"The Joy Luck Club. (movie reviews)" New York v26, n37 (Sept 20, 1993):64 (2 pages).

Grenier, Richard.

"The Joy Luck Club. (movie reviews)" Commentary v97, n5 (May, 1994):49.

Johnson, Brian D.

"The Joy Luck Club. (movie reviews)" Maclean's v106, n39 (Sept 27, 1993):70.

Klawans, Stuart.

"The Joy Luck Club. (movie reviews)"Nation v257, n10 (Oct 4, 1993):364 (3 pages).

Maslin, Janet.

"The Joy Luck Club." (movie reviews) Migration World Magazine v22, n1 (Jan-Feb, 1994):37 (2 pages).

UC users only

Maslin, Janet.

"The Joy Luck Club. (movie reviews)" New York Times v143 (Fri, March 25, 1994):B6(N), D17(L), col 5,

Maslin, Janet.

"The Joy Luck Club." (movie reviews) New York Times v142 (Wed, Sept 8, 1993):B1(N), C15(L), col 3

Shapiro, Laura.

"The Joy Luck Club. (movie reviews)" Newsweek v122, n13 (Sept 27, 1993):70.

Sharman, Leslie Felperin.

"The Joy Luck Club. (movie reviews)" Sight and Sound v4, n4 (April, 1994):44 (2 pages).

Simon, John.

"The Joy Luck Club. (movie reviews)" National Review v45, n22 (Nov 15, 1993):61.

Sterritt, David.

"The Joy Luck Club. (movie reviews)" Christian Science Monitor v85, n204 (Thu, Sept 16, 1993):11, col 2

Articles

Brouwer, Joel R.

"Images of Indeterminacy: Wayne Wang's Visual Representation of Ethnic Identity in The Joy Luck Club (1993) and Chan is Missing (1982." Michigan Academician vol. 29 no. 4. 1997Aug. pp: 505-10.

Corliss, Richard.

"All in the Families." (motion pictures "The Joy Luck Club" and "The Wedding Banquet") Time v142, n11 (Sept 13, 1993):68 (2 pages).

"Dialogue on Film: Wayne Wang." 11:9 American Film (Jul 1986), pp: 17+

Green, Suzanne D.

"Thematic Deviance or Poetic License? The Filming of The Joy Luck Club." In Vision/Revision: Adapting Contemporary American Fiction by Women to Film. Edited by Barbara Tepa Lupack, pp. 211-25. Bowling Green, OH: Bowling Green State University Popular Press, c1996.

Main Stack PN1997.85.V57 1996

Haas, Lynda

"'Eight-Six the Mother': Murder, Matricide, and Good Mothers." In: From mouse to mermaid : the politics of film, gender, and culture / Elizabeth Bell, Lynda Haas, Laura Sells, editors. Bloomington : Indiana University Press, c1995.

Anthropology PN1999.W27.F76 1995

Main Stack PN1999.W27.F76 1995

Hagedorn, Jessica.

"Asian Women in Film: No Joy, No Luck. Ms. Magazine v4, n4 (Jan-Feb, 1994):74 (5 pages).

Hsiao, Andy.

"The Man on a 'Joy Luck' Ride: Asian American director Wayne Wang, At Home with Women & Tradition." (director of the film 'The Joy Luck Club') Washington Post v116 (Mon, Sept 27, 1993):B1, col 1

Koven, Mikel J.

"Feminist Folkloristics and Women's Cinema: Towards a Methodology." Literature/Film Quarterly, vol. 27, no. 4, pp. 293-300, 1999.

Mielke, Robert.

"'American Translation': The Joy Luck Club as Film." Paintbrush, vol. 22. 1995 Autumn. pp: 68-75.

Smith, Craig S.

"A Rare Shot at Screen Stardom for Asians." (casting for 'The Joy Luck Club') Wall Street Journal (Tue, Sept 1, 1992):A12(W), A12(E), col 1

Tibbets, John C.

"A Delicate Balance: An Interview with Wayne Wang About 'The Joy Luck Club.'" Literature-Film Quarterly v22, n1 (Jan, 1994):2 (5 pages).

"Wayne Wang directed the movie 'The Joy Luck Club' based upon Amy Tan's novel, striving to maintain a balance between the comedy and tragedy of the stories. The book and movie cover the lives of four women who immigrated to San Francisco, CA, from China and raised families, with four more stories concerning the lives of their American-born daughters. Each character had a past and present story, making a total of 16 stories to tell." [Expanded Academic Index]

Tseo, George K.Y.

""Joy Luck": The Perils of Transcultural "Translation." Literature-Film Quarterly v24, n4 (Oct, 1996):338 (6 pages).

"Amy Tan's "The Joy Luck Club" and the subsequent film based on the novel effectively portray relationships between mothers and daughters, but the works are far less successful at providing insights into Chinese and Chinese-American cultures. To native Chinese, the dialogue in both works seems strained and inconsistent with Chinese speech patterns and phrasing. Despite filming in China and using Chinese actors, the film further departs from accurate representation. Viewers and readers will learn much more from the works of directors Zhang Yimou and Ang Lee." [Expanded Academic Index]

Ty, Eleanor

"Exoticism Repositioned: Old and New World Pleasures in Wang's Joy Luck Club and Lee's Eat Drink Man Woman." In: Changing representations of minorities, East and West : selected essays / edited by Larry E. Smith, John Rieder. Honolulu, Hawaii : College of Languages, Linguistics, and Literature, University of Hawaii : East-West Center : Distributed by University of Hawaii Press, c1996.

Main Stack NX629.C48 1996 hn (ed.). (1996). Changing Representations of Minorities East and West: Selected Essays. (pp. 59-74). Honolulu, HI: U of Hawaii P; East-West Center, xi, 255 pp.

"Wang is Found." The Village Voice Sep 14, 1993, pp:1+

Weinraub, Bernard.

"'I Didn't Want to Do Another Chinese Movie.'" (adaption of Amy Tan's 'The Joy Luck Club' into a motion picture) New York Times, sec2 (Sun, Sept 5, 1993):H7(N), pH7(L), col 1

Wynter, Leon E.

"'Joy Luck's' Good Luck Bypassed Ethnicity." (popularity of film, 'The Joy Luck Club,' not limited to Asian Americans) (Column)Wall Street Journal (Mon, Dec 6, 1993):B1(W), B1(E), col 2

Masala

Anwar, Farrah.

"Masala." (movie reviews) Sight and Sound v2, n4 (August, 1992):58.

Holden, Stephen.

"Masala."(movie reviews) New York Times v142 (Fri, March 26, 1993):C10(L), col 1, 16 col in.

Cohn, Lawrence.

"Masala." (movie reviews) Variety v350, n8 (March 22, 1993):53.

Koppedrayer, Kay

"Hindu Diasporic Consciousness: Srinivas Krishna's Masala." Psychology and Developing Societies. Vol 17(2), Sep 2005, pp. 99-120

"his article applies theories of diaspora and diasporic consciousness to the study of a film produced in Canada by an independent South Asian film maker, Srinivas Krishna. The film, Masala (1991), a dark comedy filmed in Toronto against a backdrop of South Asian immigrant groups, multi-culturalism and the 1985 Air India bombing and drawing upon the magico-realism of Bollywood productions and Indian devotionals, offers commentaries on questions of identity and life among South Asian diasporic communities in Canada, Canadian social policy, religion and diasporic consciousness. The article examines the way the film is located in diasporic space and how the film maker plays upon the different locations and sensitivities of his audiences to represent, explain and critique diasporic space. The article considers the way caricature and stereotype inform the negotiations of identity among members of diasporic communities, the way objective and subjective spaces are redefined in a diasporic setting and how Hindu beliefs are represented in such settings. The article examines how the film maker draws upon traditional techniques of Indian story telling as well as a mixture of cinematic techniques to tell a diasporic version of a Hindu avatara story. It argues that in simultaneously affirming and challenging the religious beliefs that inform that story, the film maker raises some provocative questions about the vitality of religious and cultural traditions in the diaspora. The article concludes with a brief examination of how the film was received by audiences in India and in Europe and North America." [PsychInfo]

Waugh, Thomas

"Home Is Not the Place One Has Left: Or, Masala as 'A Multi-Cultural Culinary Treat'?" In: Canada's best features : critical essays on 15 Canadian films / edited by Eugene P. Walz. Amsterdam : New York, NY : Rodopi, 2002. Cross/cultures ; 56

Main Stack PN1993.5.C2.C35 2002

PFA PN1993.5.C2.C34 2002 os

Mississippi Masala

Andersen, Erika Surat.

"Mississippi Masala." Film Quarterly v46, n4 (Summer, 1993):23 (4 pages).

Ansen, David.

"Mississippi Masala." (movie reviews)Newsweek v119, n7 (Feb 17, 1992):65.

Ballal, Prateeti Punja.

"Illiberal Masala: The Diasporic Distortions of Mira Nair and Dinesh D'Souza." Weber Studies: An Interdisciplinary Humanities Journal. 15 (1): 95-104. 1998 Winter.

Berry, C. S.

'Mississippi Masala' - Nair,M. Cineaste, 1992, V19 N2-3:66-67.

Bhavnani, Kum-Kum.

"Organic Hybridity or Commodification of Hybridity? Comments on Mississippi Masala." Meridians: Feminism, Race, Transnationalism. 1 (1): 187-203. 2000 Autumn.

Blake, Richard A.

"Mississippi Masala." (movie reviews)America v166, n11 (April 4, 1992):274.

Bose, Purmina. Varghese, Linta.

"Mississippi Masala, South Asian Activism, and Agency." In: Haunting violations : feminist criticism and the crisis of the "real" / edited by Wendy S. Hesford and Wendy Kozol. pp: 137-68. Urbana : University of Illinois Press, c2001.

Main Stack HQ1190.H39 2001

Canby, Vincent.

"Mississippi Masala." (movie reviews) Migration World Magazine v20, n2 (March-April, 1992):40.

Canby, Vincent.

"Mississippi Masala." (Living Arts Pages) (movie reviews)New York Times v141 (Wed, Feb 5, 1992):B1(N), C15(L), col 1, 17 col in.

DasGupta, Sayantani.

"Glass shawls and long hair: a South Asian woman talks sexual politics." (Race and Women) Ms. Magazine v3, n5 (March-April, 1993):76 (2 pages).

The movie 'Mississippi Masala' served to glorify the virtues and beauty of South Asian women. However, portrayals such as that cannot negate the effects of racism, sexism and other prejudices they encounter. They must draw on their inner beauty to present an accurate profile of the Asian woman.

Denby, David.

"Mississippi Masala." New York v25, n6 (Feb 10, 1992):50 (2 pages).

Dong, Lan.

"Diverse Identities in Interracial Relationships: A Multiethnic Interpretation of Mississippi Masala and The Wedding Banquet." Xchanges. 4 (1): [no pagination]. 2004 Sept.

Freedman, Samuel G.

"One People in Two Worlds." (movie director Mira Nair and her film 'Mississippi Masala') New York Times v141, sec2 (Sun, Feb 2, 1992):H13(N), H13(L), col 1, 46 col in.

Johnson, Brian D.

"Mississippi Masala." (movie reviews)Maclean's v105, n10 (March 9, 1992):52.

Kelly, Ernece B.

"Two New Places for Black Males in Two New Films." ('Grand Canyon' and 'Mississippi Masala') (Special Careers Issue)Crisis v99, n4 (April-May, 1992):8 (2 pages).

Two films with black actors playing key roles serve as departures from the typical stereotyped image of Afro-Americans as mere 'bucks, coons and Toms.' In 'Grand Canyon,' Danny Glover portrays a tow truck operator whose philosophical insights strongly influence the rest of the film's characters. In 'Mississippi Masala,' Denzel Washington tackles the role of a commercial rug cleaner who breaks racial barriers by becoming romantically involved with an East Indian girl.

Klawans, Stuart.

"Mississippi Masala." (movie reviews) Nation v254, n7 (Feb 24, 1992):246.

Levich J.

"Masala." - Krishna,S. Cineaste, 1993, V20 N1:44-46.

"Masala." (movie reviews)

New York Times v143 (Fri, Dec 24, 1993):B6(N), D15(L), col 5, 2 col in. Pub Type: Review.

Mehta, Binita.

"Emigrants Twice Displaced: Race, Color, and Identity in Mira Nair's Mississippi Masala." In: Between the lines : South Asians and postcoloniality / edited by Deepika Bahri and Mary Vasudeva. Philadelphia : Temple University Press, 1996.

MAIN: E184.S69 B48 1996

MOFF: E184.S69 B48 1996; AASL: E184.A3 B48; Housed at Ethnic Studies Library.

Mehta, Binita.

"Emigrants Twice Displaced: Race, Color, and Identity in Mira Nair's Mississippi Masala." In: Between the Lines: South Asians and Post-Coloniality / edited by Deepika Bahri and Mary Vasudeva. pp: 185-203. Philadelphia, [Pa.]: Temple University Press, 1996. Series title: Asian American history and culture.

UCB AsianAmer E184.A3 B48

UCB Main E184.S69 B48 1996)

Mehta, Binita.

"Emigrants Twice Displaced: Race, Color, and Identity in Mira Nair's Mississippi Masala." In: Screening Asian Americans / <2002> Edited and with an introduction by Peter X. Feng. New Brunswick, N.J. : Rutgers University Press, c2002.

MAIN: PN1995.9.A77 S79 2002

AASL: PN1995.9.A77 S79 2002; Housed at Ethnic Studies Library

"Mississippi Masala." (Living Arts Pages) (movie reviews)New York Times v141 (Thu, Sept 10, 1992):B5(N), C22(L), col 1, 3 col in.

Reid, Mark A.

"Rebirth of a Nation: Three Recent Films Resist the Southern Stereotypes of D. W. Griffith, Depicting a Technicolor Region of Black, Brown, and G(R)ay."Southern Exposure, vol. 20 no. 4. 1992 Winter. pp: 26-28.

Salamon, Julie.

"Mississippi Masala." (movie reviews)Wall Street Journal (Thu, Feb 6, 1992):A12(W), A12(E), col 1, 17 col in.

Singer, Wendy.

"Mirch Masala." (movie reviews) American Historical Review v97, n4 (Oct, 1992):1148 (3 pages).

Singh, Jaspal Kaur.

"Globalization, Transnationalism, and Identity Politics in South Asian Women's Texts." Michigan Academician. 35 (2): 171-88. 2003 Summer.

Singh, Jaspal Kaur.

"Representing the Poetics of Resistance in Transnational South Asian Women's Fiction and Film." South Asian Review. 24 (1): 202-19. 2003

Sragow, Michael.

"Mississippi Masala." New Yorker v68, n9 (April 20, 1992):82 (3 pages).

Simpson, Janice C.

"Focusing on the Margins."(film maker Mira Nair) Time v139, n9 (March 2, 1992):67.

Sterritt, David.

"Mississippi Masala." (movie reviews)Christian Science Monitor v84, n82 (Tue, March 24, 1992):11, col 2, 13 col in.

Stuart, Andrea

"Mississippi Masala." (Interview). Sight & Sound I/7, Nov 91; p.(6-9). illus. Mira Nair discusses her film "Mississippi masala".

Stuart, Andrea

"Mira Nair: A New Hybrid Cinema." In: Women and film : a Sight and sound reader / edited by Pam Cook and Philip Dodd. Philadelphia : Temple University Press, 1993.

MAIN: PN1995.9.W6 W63 1993

MOFF: PN1995.9.W6 W63 1993

My Beautiful Laundrette

Picture Bride

Maslin, Janet.

"Picture Bride." (movie reviews) New York Times v144 (Sat, April 29, 1995):12(N), col 5

Sterritt, David.

"Woman Director Captures Mail-Order Brides' Story." (Kayo Hatta's "PictureBride") Christian Science Monitor v87, n96 (Thu, April 13, 1995):14, col 2

Tagashira, Gail S.

"The Protector of the 'Picture Bride's' Stories." (filmmaker Kayo Hatta'smovie about mail-order Japanese brides) Los Angeles Times v114 (Thu, May 4, 1995):F1, col 2

Sammy and Rosie Get Laid

Sayonara

Heine, Steven.

"Sayonara Can Mean 'Hello': Ambiguity and the Orientalist ButterflySyndrome in Postwar American Films." Post Script: Essays in Film and the Humanities vol. 16 no. 3. 1997 Summer. pp: 17-35.

Marchetti, Gina.

"Contradiction and Viewing Pleasure: The Articulation of Racial, Class, andGender Differences in Sayonara." In: Multiple Voices in Feminist Film Criticism / Diane Carson,Linda Dittmar, andJanice R. Welsch, editors. pp: 243-53. Minneapolis: University of Minnesota Press,c1994.

UCB Main PN1995.9.W6 M82 1994

UCB Moffitt PN1995.9.W6 M82 1994)

Marchetti, Gina.

"Tragic and Transcendent Love: Sayonara and The Crimson Kimono." In: Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction / Gina Marchetti. pp. 125-57. Berkeley: University of California Press, c1993.

UCBAsianAmer PN1995.9.A8 M37

UCB Main PN1995.9.A78 M37 1993

UCB Moffitt PN1995.9.A78 M37 1993

South Pacific

Ma, Sheng-mei.

"Rodger's and Hammerstein's "Chopsticks" musicals.(Richard Rodgers, Oscar Hammerstein; "The King and I," "Flower Drum Song" and "South Pacific")(Critical Essay)." Literature-Film Quarterly 31.1 (Jan 2003): 17-26.

UC users only

Most, Andrea.

""You've got to be carefully taught": the politics of race in Rodgers and Hammerstein's 'South Pacific'" Theatre Journal v52, n3 (Oct, 2000):307 (31 pages).

'South Pacific,' one of the most popular musicals by Richard Rodgers and Oscar Hammerstein, does not consistently support its stated theme of racial tolerance. Asians in particular are treated stereotypically, and the mixed-race family offered at the show's end offers no promise of enduring unity.

The Wedding Banquet

Ansen, David.

"The Wedding Banquet." (movie reviews) Newsweek v122, n7 (August 16, 1993):61.

Bowman, James.

"The Wedding Banquet." (movie reviews) American Spectator v26, n11 (Nov, 1993):70.

Chua, Ling-Yen.

"The cinematic representation of Asian homosexuality in 'The WeddingBanquet.'"(Special Double Issue Multicultural Queer: Australian Narratives) Journal of Homosexuality v36, n3-4 (March, 1999):99.

"Author Abstract: Over the last decade, there has been an increasing number of western films which represent both homosexuals and Asian people. However, the homosexuals depicted in these films are often white, and the Asians are almost always heterosexual. In an attempt to account for the scarcity of western films containing Asian homosexuals, this paper aims to examine some of the common cinematic tropes and theoretical discourses used to depict and define both Asians and homosexuals. As one of the few feature-length films containing an Asian homosexual central character, Ang Lee's The Wedding Banquet will also be discussed." COPYRIGHT 1999 Haworth

Corliss, Richard.

"All in the Families." (motion pictures "The Joy Luck Club" and "The WeddingBanquet") Time v142, n11 (Sept 13, 1993):68 (2 pages).

Denby, David.

"The Wedding Banquet." (movie reviews) New York v26, n34 (August 30, 1993):136.

Dong, Lan.

"Diverse Identities in Interracial Relationships: A Multiethnic Interpretation of Mississippi Masala and The Wedding Banquet." Xchanges. 4 (1): [no pagination]. 2004 Sept.

Holden, Stephen.

"The Wedding Banquet." (movie reviews) New York Times v142 (Wed, August 4, 1993):B3(N), C18(L), col 4, 21 col in.

Hornaday, Ann.

"A Director's Trip from Salad days to a 'Banquet.'" (profile of Ang Lee,director of 'The Wedding Banquet') New York Times v142, sec2 (Sun, August 1, 1993):H25(N), H25(L), col 1, 24col in.

Kauffmann, Stanley.

"The Wedding Banquet." (movie reviews) New Republic v209, n7 (August 16, 1993):25.

Kort, Michele.

"The Wedding Banquet." (movie reviews) Advocate, n634 (July 27, 1993):71.

Sheng-mei Ma.

"Ang Lee's domestic tragicomedy: immigrant nostalgia, exotic/ethnic tour, global market." Journal of Popular Culture v30, n1 (Summer, 1996):191 (11 pages).

Ang Lee's trilogy 'Pushing Hands,' 'Wedding Banquet,' and 'Eat Drink Man Woman' are domestic tragicomedies that depict the immigrant's culture and dilemma in the US, and weakens racial, cultural and sexual identities. The films, produced through a joint venture between Western and Taiwanese crews, were conceived with a global audience in mind. Lee's leading roles possess an immigrant subjectivity that breaks the barriers between the first and third worlds. The trilogy comprises both immigrant nostalgia and a tour of the exotic and the ethnic.

Sterrit, David.

"The Wedding Banquet." (movie reviews) Christian Science Monitor v85, n176 (Fri, August 6, 1993):12, col 1, 5 colin.

"The Wedding Banquet." (movie reviews)

Migration World Magazine v22, n2-3 (March-June, 1994):44.

Anna May Wong

"Anna May Wong."

In: Lifetimes : the Great War to the stock market crash : American history through biography and primary documents / edited by Neil A. Hamilton ; writers, Mark LaFlaur, James M. Manheim, Renee Miller. Westport, Conn. : Greenwood Press, c2002.

Main Stack E766.L48 2002

Bruce, R.

"Anna May Wong." Films in Review Vol XXXVIII nr 10 (Oct 1987); p 510

Actress A.M.W.'s career in the UK.

Chan, Anthony B.

Perpetually cool: the many lives of Anna May Wong (1905-1961) Lanham, Md. : Scarecrow Press, c2003.

MAIN: PN2287.W56 C48 2003

AASL: PN2287.W56 C48 2003

Gan, Geraldine.

"Anna May Wong." In: Lives of notable Asian Americans : arts, entertainment, sports New York : Chelsea House Publishers, 1995.

Asian Amer CT93.A8.G36 1995 Ref.

Gombeaud, Adrien

"Anna May Wong, tragédie d'une exotique." Positif: Revue Mensuelle de Cinema, vol. 528, pp. 105-07, February 2005

Hodges, Graham Russell.

Anna May Wong : from laundryman's daughter to Hollywood legend New York : Palgrave Macmillan, 2004.

MAIN: PN2287.W56 H64 2004

MOFF: PN2287.W56 H64 2004

BANC: PN2287.W56 H64 2004

Table of contents via Google books

Hong, Y., et. al.

"A Twentieth Century Actress: A Conversation with Yunah Hong and Peter X. Feng." Quarterly Review of Film and Video v. 23 no. 1 (2006) p. 37-44

UC users only

"Part of a special section on Chinese-American actress Anna May Wong and Orientalism. Filmmaker Yunah Hong is to make a documentary film on Wong. This film, which has the working title Anna May Wong: A Twentieth Century Actress, tracks the pioneering film star as she travels from Hollywood, through Europe, to China, and back. It is the logical continuation of the interests of this filmmaker, whose previous documentaries share an interest in the legacy of Asian-American women as literal and figurative pioneers, and how art is born from the movement of people across the world. In a conversation with Peter X. Feng, an expert on Asian-American filmmakers, Hong discusses a range of topics concerning Wong's film legacy, including the personal and professional impact she had on the filmmaker, her cinematic images, and her popularity with segments of contemporary audiences." [Art Index]

Klein, Christina.

"The China Mystique: Pearl S. Buck, Anna May Wong, Mayling Soong, and the Transformation of American Orientalism.(Book review)." Journal of American History 93.1 (June 2006): 261(2).

Leibfred, Philip

"Anna May Wong." Films in Review v. 38 (March 1987) p. 147-52

Leibfred, Philip

Anna May Wong : a complete guide to her film, stage, radio, and television work Jefferson, N.C. : McFarland, c2004.

MAIN: PN2287.W56 L45 2004

AASL: PN2287.W56 L45 2004; Spec. Coll.

Table of contents http://www.loc.gov/catdir/toc/ecip049/2003020314.html

Leong, Karen J.

"Anna May Wong and the British Film Industry." Quarterly Review of Film and Video v. 23 no. 1 (2006) p. 13-22

"Part of a special section on Chinese-American actress Anna May Wong and Orientalism. Wong negotiated issues of celebrity, gender, race, nationality, and power while constructing her career in Great Britain and the United States in the 1930s. Lack of opportunities in Hollywood early in her career led Wong to work in Europe, where she enjoyed great popularity. There, she starred in a number of British films in 1933 and 1934, achieving the visibility out of which her starring roles in Hollywood subsequently developed. She actively cultivated her own narrative as a Chinese-American actress abroad within the context of the developing British and American film industries. As the British industry was seeking to compete internationally with Hollywood, she could more fully and pointedly critique the racism she experienced in the United States while continuing to fascinate British audiences as the embodiment of the Orient." [Art Index]

Leong, Karen J.

The China mystique : Pearl S. Buck, Anna May Wong, Mayling Soong, and the transformation of American Orientalism Berkeley : University of California Press, c2005.

MOFF: E183.8.C5 L386 2005

Liu, Cynthia W.

"Re-imagining Anna May Wong." In: Countervisions : Asian American film criticism / edited by Darrell Y. Hamamoto and Sandra Liu. Philadelphia : Temple University Press, 2000.

Main Stack PN1995.9.A78.C68 2000

Asian Amer PN1995.9.A78.C68 2000

Lim, Shirley Jennifer

""I protest" : Anna May Wong and the performance of modernity." In: A feeling of belonging : Asian American women's public culture, 1930-1960 / Shirley Jennifer Lim. New York : New York University Press, c2006.

Main Stack E184.A75.L56 2006

Moffitt E184.A75.L56 2006

Metzger, S.

"Patterns of Resistance?: Anna May Wong and the Fabrication of China in American Cinema of the Late 30s." Quarterly Review of Film and Video v. 23 no. 1 (2006) p. 1-11

UC users only

"Part of a special section on Chinese-American actress Anna May Wong and Orientalism. Representations of the actress in the late 1930s are examined. Focusing on the years prior to World War II, when images of Asian women became more numerous on-screen, the writer examines a number of Hollywood films from the late 1930s in which Wong played the lead female role. He addresses the ways these films fashion Wong's body through the use of costumes that become the fetishistic focus of the camera. He examines how, through Wong's costumes, the repeated image of 1930s China chic worked as a material fantasy that stitched her individual body to a larger social fabric, showing that the garments she wore helped her to construct a vision of a Chinese-American female for her audiences." [Art Index]

Negra, Diane

Off-white Hollywood : American culture and ethnic female stardom / Diane Negra. London ; New York : Routledge, 2001.

Contents: Hollywood film and the narrativization of ethnic femininity -- The wearing of the green : Irishness as a promotional discourse in the career of Colleen Moore -- Immigrant stardom in imperial America : Pola Negri and the problem of typology -- Sonja Henie in Hollywood : whiteness, athleticism, and Americanization -- Ethnicity and the interventionist imagination : domesticity, exoticism, and scandal in the persona of Hedy Lamarr -- Marisa Tomei and the fantasy of ethnicity -- Stardom, corporeality, and ethnic indeterminancy : Cher's disrupted/disruptive body.

"Diane Negra's Off-White Hollywood: American Culture and Ethnic Female Stardom is an intelligent, well-researched contribution to the field of star studies. It investigates female stardom and the way in which the female star's capacity for disruption of patriarchal values is affected by ethnicity. The author refers to the four caryatids on the gateway to Hollywood, statues modeled on Dorothy Dandridge, Mae West, Delores Del Rio, and Anna May Wong as a tribute to multiculturalism but notes that all were homogenized and divested of their individuality and ethnicity. This serves as a perfect symbol of what Negra reveals as the efforts at containment of Hollywood women whose primary attractions and drawbacks for the commercial media are rooted in their association with their ethnicity." [Art Index]

Oishi, Eve

"'High-class fakery': race, sex, and class in the screenwriting of Winnifred Eaton (1925-1931)." Quarterly Review of Film and Video Vol XXIII nr 1 (2006); p 23-36

Discusses the career of Winnifred Eaton, focusing on her credited silent films "Shanghai lady" and "The Mississippi gambler" as examples of the ways in which Eaton took full advantage of the racial stereotypes that mark early Hollywood cinema.

"Special Issue on Anna May Wong and Orientalism."

Quarterly Review of Film and Video v. 23 no. 1 (2006) p. 1-78

Thi Thanh Nga.

"The long march from Wong to Woo: Asians in Hollywood." (Race in Contemporary American Cinema: Part 5)Cineaste v21, n4 (Fall, 1995):38 (3 pages).

Asians have suffered demeaning portrayals in US films since they were frequently shown as cruel and mysterious adversaries. Actress Anna May Wong fought for good roles and was disappointed by the early film industry, as was Bruce Lee later in the 1970s. Asians were stereotyped and Asian actors took on roles that did not consider their actual ethnicity. More accurate portrayals of Asians and Asian-Americans have been produced in the 1980s and 1990s, including 'The Joy Luck Club' and 'Chan is Missing.'

Tu, Thuy Linh Nguyen

"Forgetting Anna May Wong." Wasafiri: The Transnational Journal of International Writing, vol. 43, pp. 14-18, Winter 2004

Wang, Yiman

"The Art of Screen Passing: Anna May Wong's Yellow Yellowface Performance in the Art Deco Era." Camera Obscura no. 60 (2005) p. 158-91

UC users only

"Part of a special issue on the representation of Japanese and Chinese women in silent Hollywood movies of the 1920s and 1930s. The performative strategy of screen passing developed by pioneering Chinese-American actress Anna May Wong, who was active in Europe and America throughout the 1940s, had a repressed subversive potential. At a time of blatant racism and orientalism, when Asian-Americans hardly had any chance of becoming assimilated into the white mainstream, Asian-American actors were seldom judged by their performing skill, let alone their performative strategy; rather, they were often seen as a mere index of a homogeneous Orient. As a result, Wong's performative strategy of screen passing--her ability to overact in a wide range of racialized roles, which allowed her to bring to the fore the stereotypical and orientalist underpinnings of these roles--has remained unrecognized and occluded by essentialist discourses in both Euro-America and China. The writer goes on to offer a reframing of Wong's screen passing and her "yellow yellowface" performance, elaborating on her ironic intervention and the sociopolitical significance of recognizing it as such." [Art Index]

Wollstein, Hans J.

"Anna May Wong." In: Vixens, floozies, and molls : 28 actresses of late 1920s and 1930s Hollywood / by Hans J. Wollstein. Jefferson, N.C. : McFarland & Co., c1999.

Main Stack PN1998.2.W655 1999

Wong, Anna May

"Anna May Wong, I am growing more Chinese- each passing year! (1934)." In: Chinese American voices : from the gold rush to the present / edited with introductions by Judy Yung, Gordon H. Chang, and Him Mark Lai. Berkeley : University of California Press, c2006.

Moffitt E184.C5.C479 2006

Bancroft E184.C5.C479 2006

Worrell, Joseph

"On the Dragon Lady's Trail: Rediscovering the Films and Image of Anna May Wong in Classical Hollywood Cinema." Asian Cinema, vol. 14, no. 2, pp. 3-34, Fall 2003

Looks at the career of Asian American actress Anna May Wong in Hollywood films. Discusses her film roles, her professional challenges and the construction process of her publicity stills and acting style. To the top