The Rey Chow Reader

I’ve just submitted the manuscript of The Rey Chow Reader to Columbia University Press. It will be out in Spring 2010. Here’s the final table of contents:

 

 

The Rey Chow Reader:

Modernity, Postcolonial Ethnicity, Filmic Visuality,

& Transcultural Politics

 

Table of Contents

 

Acknowledgements

PREFACE:

EDITOR’S INTRODUCTION: Paul Bowman

 

 

Part 1

MODERNITY & POSTCOLONIAL ETHNICITY

 

EDITOR’S INTRODUCTION: Paul Bowman

 

1. The Age of the World Target: Atomic Bombs, Alterity, Area Studies

• Seeing Is Destroying
• The World Becomes Virtual
• The Orbit of Self and Other
• From Atomic Bombs to Area Studies

 

2. The postcolonial difference: lessons in cultural legitimation

 

3. Leading Questions, Writing Diaspora

• Orientalism and East Asia: The Persistence of a Scholarly Tradition
• Sanctifying the “Subaltern”: The Productivity of White Guilt
• Tactics of Intervention
• The Chinese Lesson

 

4. Brushes with the-Other-as-Face: Stereotyping and Cross-Ethnic Representation

• The Inevitability of Stereotypes

 

5. The Politics of Admittance: Female Sexual Agency, Miscegenation, and the Formation of Community in Frantz Fanon

• Race and the Problem of Admittance
• Community Formation and Sexual Difference: A Double Theoretical Discourse
• What Does the Woman of Color Want?
• The Force of Miscegenation
• Community Building among Theorists of Postcoloniality

 

6. When Whiteness Feminizes...: Some Consequences of a Supplementary Logic

• Is “Woman” a Woman, a Man, or What? The Unstable Status of Woman in Contemporary Cultural Criticism

 

 

Part 2

FILMIC VISUALITY & TRANSCULTURAL POLITICS

 

EDITOR’S INTRODUCTION: Paul Bowman

 

7. Film and Cultural Identity

 

8. Seeing Modern China: Toward a Theory of Ethnic Spectatorship

 

9. The Dream of a Butterfly

• “East Is East and West Is West, and Ne’er the Twain Shall Meet”
• “The Beauty. . . of Her Death. It’s a . . . Pure Sacrifice.”
• The Force of Butterfly; or, the “Oriental Woman” as Phallus
• “Under the Robes, beneath Everything, It Was Always Me”
• “It’s Not the Story; It’s the Music”
• Madame Butterfly, C’est Moi
• Coda: New Questions for Cultural Difference and Identity

 

10. Film as Ethnography; or, Translation Between Cultures in the Postcolonial World

• The Primacy of To-Be-Looked-At-ness
• Translation and the Problem of Origins
• Translation as “Cultural Resistance”
• The “Third Term”
• Weakness, Fluidity, and the Fabling of the World
• The Light of the Arcade

 

11. A Filmic Staging of Postwar Geotemporal Politics: Kurosawa Akira’s No Regrets for Our Youth, Sixty Years Later

 

12. Sentimental Fabulations: Contemporary Chinese Films

• Where is the movie about me?
• Highlights of a Western Discipline
• Image, Time, Identity: Trajectories of Becoming Visible
• Defining the Sentimental in Relation to Contemporary Chinese Cinema

 

13. The Political Economy of Vision in Happy Times and Not One Less; or, A Different Type of Migration

• Altruistic Fictions in China’s Happy Times
• How to Add Back a Subtracted Child? The Transmutation and Abjection of Human Labor in Not One Less

 

NOTES

INDEX