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By Kwai-Cheung Lo
Cutting edge research of the connection of gender to East Asian monetary development.
In extra and Masculinity in Asian Cultural Productions, Kwai-Cheung Lo explores the excesses linked to the exceptional financial progress in East Asia, together with surplus capital, environmental waste, and the unbalanced ratio of guys to ladies within the zone, connecting the creation of capitalist “excess” to the construction of recent different types of transnational Asian masculinity. Lo attracts on Lacanian psychoanalysis and Marxist principles in addition to gender thought in his exam of East Asian cultural items similar to spiritual and parenting books, transgender literary fantasies, go back and forth writing, gangster videos, woman motion heroes, and on-line video games. via this research, Lo argues that the surplus of Asia’s “masculine” modernization throws into reduction the inner inconsistencies of capitalism itself, posing new demanding situations to the order of worldwide capitalism and suggesting new attainable configurationsof worldwide modernity.
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Extra resources for Excess and Masculinity in Asian Cultural Productions (SUNY Series in Global Modernity)
Example text
Chan (2004) further states that it is very difficult to write a film script that can employ different Asian talents onscreen; Three and its sequel anthologize the short films of the participating Asian filmmakers, but there is no collaboration at the diegetic level. What is revealing about Chan’s comments is that an all-encompassing Asian representation is still not easy, and perhaps not possible, to construct, even though Asian peoples are more and more inclined to consume one another’s productions, and Asian filmmakers are happy to work with their competitors in the region.
It is particularly true of a few Korean films that reference Chinese culture by imitating Hong Kong action cinema, recruiting Chinese crews, or by casting Chinese stars. Both Kim Young-jun’s swordplay Bichunmoo (2000) and Kim Sung-su’s historical epic Wusa: The Warrior (2001) were shot on location in China. Modeled after Hong Kong swordplay films and set in China under 30 Excess and Masculinity in Asian Cultural Productions the Yuan dynasty, Bichunmoo employed Ma Yuk-shing (who choreographed Tsui Hark’s The East Is Red and Ching Siu-tung’s Swordsman series) as action director.
From blackface minstrelsy to other ethnic imposture in Hollywood, the United States has an ongoing legacy of racial impersonation that plays into cultural stereotypes and materializes essentialist thinking about race.