By Peter X. Feng
This leading edge ebook exhibits how Asian American filmmakers and videomakers body and are framed via history—how they outline and are outlined by means of cinematic projections of Asian American identification. Combining shut readings of flicks and movies, subtle cultural analyses, and exact creation histories that show the complicated forces at play within the making and allotting of those video clips, Identities in Motion deals an illuminating interpretative framework for assessing the extreme variety of Asian American movies produced in North America.
Peter X Feng considers quite a lot of works—from genres akin to detective movies to romantic comedies to ethnographic motion pictures, documentaries, avant-garde video clips, newsreels, travelogues, or even domestic videos. Feng starts off by means of interpreting video clips approximately 3 the most important moments that outlined the yankee state and the jobs of Asian americans inside of it: the arriving of chinese language and jap ladies within the American West and Hawai’i; the incorporation of the Philippines into the U.S. empire; and the internment of jap american citizens in the course of international struggle II. In next chapters Feng discusses cinematic depictions of ideological conflicts between Asian american citizens and of the advanced forces that compel migration, extending his nuanced research of the intersections of sexuality, ethnicity, and nationalist hobbies.
Identities in Motion illuminates the fluidity of Asian American identities, expressing the variety and complexity of Asian Americans—including Filipinos, Indonesians, chinese language, jap, Vietnamese, Laotians, Indians, and Koreans—from the 19th to the twenty-first century.
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Additional resources for Identities in Motion: Asian American Film and Video
The rko logo, excerpted from King Kong. thirds of the way through King Kong’’ (170), and it likewise appears at twothirds of the way through On Cannibalism. Shortly after this scene, the narrator departs from the stable position of ‘‘other’’ vis-à-vis the West (‘‘we were star attractions . . you devoured us’’). Showing us an image from Regnault’s chronophotographic series, ‘‘Negress walking with a light weight on her head,’’ the narrator states, ‘‘I am a Wolof woman: I come from Dakar, Senegal.
Throughout the video, footage from King Kong has been intercut with the ethnographic images. In The Third Eye, Rony oﬀers a fascinating reading of King Kong, organizing the ﬁlm’s representations of race and gender as an evolutionary taxonomy. At the conclusion of her typology, she reads Kong’s climb up the Empire State Building as a conﬂict between the prehistory that Kong represents and the engineering feat symbolized by the New York skyscraper. On Cannibalism ampliﬁes this argument by juxtaposing rko’s logo—an Eiﬀel-esque radio tower astride the globe— with Kong on the Empire State Building.
S. movies, doesn’t it also follow that movie romances tell us myths about the formation of American communities? 3 The Western genre, for example, seems at ﬁrst glance to concern itself with lone male protagonists, and yet, insofar as the genre depicts the taming of the frontier and the establishment of new communities, heterosexual romance is also a central concern, with (white) women representing civilization, education, and rootedness (as opposed to the values of individuality, nature, folk wisdom, and wanderlust personiﬁed by the cowboy).