دانلود کتاب The Rey Chow Reader

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Editor’s Introduction\nAcknowledgments\nPart 1. Modernity and Postcolonial Ethnicity\n 1. The Age of the World Target: Atomic Bombs, Alterity, Area Studies\n Seeing Is Destroying\n The World Becomes Virtual\n The Orbit of Self and Other\n From Atomic Bombs to Area Studies\n 2. The Postcolonial Difference: Lessons in Cultural Legitimation\n 3. From Writing Diaspora: Introduction: Leading Questions\n Orientalism and East Asia: The Persistence of a Scholarly Tradition\n Sanctifying the “Subaltern”: The Productivity of White Guilt\n Tactics of Intervention\n The Chinese Lesson\n 4. Brushes with the-Other-as-Face: Stereotyping and Cross-Ethnic Representation\n The Inevitability of Stereotypes in Cross-Ethnic Representation\n 5. The Politics of Admittance: Female Sexual Agency, Miscegenation, and the Formation of Community in Frantz Fanon\n Race and the Problem of Admittance\n Community Formation and Sexual Difference: A Double Theoretical Discourse\n What Does the Woman of Color Want?\n The Force of Miscegenation\n Community Building Among Theorists of Postcoloniality\n 6. When Whiteness Feminizes: Some Consequences of a Supplementary Logic\n Is “Woman” a Woman, a Man, or What? The Unstable Status of Woman in Contemporary Cultural Criticism\nPart 2. Filmic Visuality and Transcultural Politics\n 7. Film and Cultural Identity\n 8. Seeing Modern China: Toward a Theory of Ethnic Spectatorship\n 9. The Dream of a Butterfly\n “East Is East and West Is West, and Ne’er the Twain Shall Meet”\n “The Beauty ... of Her Death. It’s a ... Pure Sacrifice”\n The Force of Butterfly; or, the “Oriental Woman” as Phallus\n “Under the Robes, Beneath Everything, It Was Always Me”\n “It’s Not the Story; It’s the Music”\n Madame Butterfly, C’est Moi\n Coda: New Questions for Cultural Difference and Identity\n 10. Film as Ethnography; or, Translation Between Cultures in the Postcolonial World\n The Primacy of To-Be-Looked-At-ness\n Translation and the Problem of Origins\n Translation as “Cultural Resistance”\n The “Third Term”\n Weakness, Fluidity, and the Fabling of the World\n The Light of the Arcade\n 11. A Filmic Staging of Postwar Geotemporal Politics: On Akira Kurosawa’s No Regrets for Our Youth, Sixty Years Later\n Coda\n 12. From Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility\n Introduction\n Highlights of a Western Discipline\n Image, Time, Identity: Trajectories of Becoming Visible\n Defining the Sentimental in Relation to Contemporary Chinese Cinema\n 13. The Political Economy of Vision in Happy Times and Not One Less; or, a Different Type of Migration\n Altruistic Fictions in China’s Happy Times\n How to Add Back a Subtracted Child? The Transmutation and Abjection of Human Labor in Not One Less\nNotes\nIndex