From Fu Manchu to Kung Fu Panda: Images of China in American Film

GreeneCOVER1.inddThroughout the twentieth century, American filmmakers have embraced cinematic representations of China. Beginning with D.W. Griffith’s silent classic Broken Blossoms (1919) and ending with the computer-animated Kung Fu Panda (2008), author Naomi Greene explores China’s changing role in the American imagination. Taking viewers into zones that frequently resist logical expression or more orthodox historical investigation, the films suggest the welter of intense and conflicting impulses that have surrounded China. They make clear that China has often served as the very embodiment of “otherness”—a kind of yardstick or cloudy mirror of America itself. It is a mirror that reflects not only how Americans see the racial “other” but also a larger landscape of racial, sexual, and political perceptions that touch on the ways in which the nation envisions itself and its role in the world.

In the United States, the exceptional emotional charge that imbues images of China has tended to swing violently from positive to negative and back again: China has been loved and—as is generally the case today—feared. Using film to trace these dramatic fluctuations, From Fu Manchu to Kung Fu Panda relates them to the larger arc of historical and political change. Suggesting that filmic images both reflect and fuel broader social and cultural impulses, the author argues that they reveal a constant tension or dialectic between the “self” and the “other.” Significantly, with the important exception of films made by Chinese or Chinese American directors, the Chinese other is almost invariably portrayed in terms of the American self. Placed in a broader context, this ethnocentrism is related both to an ever-present sense of American exceptionalism and to a Manichean world view that perceives other countries as friends or enemies.

Greene analyzes a series of influential films, including classics like Shanghai Express (1932), The Bitter Tea of General Yen (1933), The Good Earth (1936), and Shanghai Gesture (1941); important cold war films such as The Manchurian Candidate (1962) and The Sand Pebbles (1966); and a range of contemporary films, including Chan is Missing (1982), The Wedding Banquet (1993), Kundun (1997), Mulan (1998), and Shanghai Noon (2000). The author’s consideration makes clear that while many stereotypes and racist images of the past have been largely banished from the screen, the political, cultural, and social impulses they embodied are still alive and well.

Written by Naomi Greene

2014 | 280 pages | 31 illustrations
Paper ISBN: 978-0-8248-3836-2 | $25.00
Cloth ISBN: 978-0-8248-3835-5 | $65.00

Critical Interventions Series

Association for Asian American Studies Conference in San Francisco and the Popular Culture Association/American Culture Association Conference in Chicago

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University of Hawai‘i Press is exhibiting at two conferences this week, showcasing new and recent titles from our Spring catalog as well as our Asian Studies catalog.

In San Francisco from April 16-19 at the Grand Hyatt for the Association for Asian American Studies Conference, acquisitions editor Masako Ikeda will be available to meet with prospective authors.

In Chicago, editor Stephanie Chun will be at the Popular Culture Association/American Culture Association Conference from April 16-19 at the Marriott Chicago.

Some titles to look out for at both meetings: From Fu Manchu to Kung Fu Panda: Images of China in American FilmScrutinized!: Surveillance in Asian North American Literature, Dubious Gastronomy: The Culture Politics of Eating Asian in the USA, and Capturing Contemporary Japan: Differentiation and Uncertainty.

Please visit us to see our latest titles and take advantage of the conference offer of a 20% discount and free shipping in the U.S. Free shipping applies only to orders received or placed at the conference.

New Catalog Available: Asian Studies 2014

2014 Asian Studies coverTimed to coincide with the Association for Asian Studies annual meeting, our Asian Studies 2014 catalog of recent and forthcoming titles is now available. Books published prior to 2013 and currently in print can be found at our website.)

To download the PDF (6.3M), click on the catalog cover image to the left or go to: http://uhpress.wordpress.com/latest-catalogs/. If you wish to receive a print version, please write to us by clicking here.

UH Press at the Association for Asian Studies Annual Conference, March 27-30, Philadelphia

AAS-2014-meetingUniversity of Hawai‘i Press is exhibiting at the Association for Asian Studies Annual Conference, March 27-30, held this year at the Philadelphia Marriott Downtown hotel.

We have a larger than usual contingent attending: UHP director Michael Duckworth; editors Patricia Crosby, Pamela Kelley, and Stephanie Chun; marketing director Colins Kawai; and sales manager Royden Muranaka. Please visit us at booths 110-116 to see our latest titles and take advantage of the conference offer of a 20% discount and free shipping in the U.S. (Free shipping applies only to orders received or placed at the conference.) Our new Asian Studies print catalog will also be distributed.

Exhibiting across the aisle from us are publishing partners: Cornell University East Asia Program (booth 111), MerwinAsia and Seoul Selection (booth 113), NIAS Press-Nordic Institute of Asian Studies (booth 117), and NUS Press-Singapore (booth 115).

See you in Philly!

Exhibiting the Past Examines Exhibitionary Spaces in Postsocialist China

Denton-Exhibiting-the-PastIn Exhibiting the Past: Historical Memory and the Politics of Museums in Postsocialist China, Kirk Denton analyzes types of museums and exhibitionary spaces: from revolutionary history museums, military museums, and memorials to martyrs to museums dedicated to literature, ethnic minorities, and local history. He discusses red tourism—a state sponsored program developed in 2003 as a new form of patriotic education designed to make revolutionary history come alive—and urban planning exhibition halls, which project utopian visions of China’s future that are rooted in new conceptions of the past. Denton’s method is narratological in the sense that he analyzes the stories museums tell about the past and the political and ideological implications of those stories.

Focusing on “official” exhibitionary culture rather than alternative or counter memory, Denton reinserts the state back into the discussion of postsocialist culture because of its centrality to that culture and to show that state discourse in China is neither monolithic nor unchanging. The book considers the variety of ways state museums are responding to the dramatic social, technological, and cultural changes China has experienced over the past three decades.