Book contents
- Frontmatter
- Contents
- Preface
- Notes on Contributors
- List of Figures
- Introduction
- Chapter 1 Projecting a More Habitable Globe: Hollywood's Yellow Peril and Its Refraction onto 1930s Shanghai National Cinema
- Chapter 2 Berlin – The City of Sound and Sensation in Fritz Lang's M and E. A. Dupont's Varieté
- Chapter 3 Bond's Body: Diamonds Are Forever, Casino Royale and the Future Anterior
- Chapter 4 Whatever You Say, Say Nothing
- Chapter 5 Imperial Gazes, Hollywood Predators: A Cinema of Molestation in Postcolonial Indian Literature
- Chapter 6 Linguistic Identity in Fruit Chan's 1997 Trilogy
- Chapter 7 The Postnational and the Aesthetics of the Spectral: Hou Hsiao-Hsien's Flight of the Red Balloon
- Chapter 8 The Art Object as Text in the Practice of Comparative Visuality
- Chapter 9 Exploring In-humanity: Gertrude Stein's Tender Buttons and Still-Life Painting
- Chapter 10 Re-defining Art: Manuel Rivas' Mujer en el baño
- Chapter 11 Re-envisioning the Haunting Past: Kara Walker's Art and the Re-appropriation of the Visual Codes of the Antebellum South
- Bibliography
- Index
Chapter 1 - Projecting a More Habitable Globe: Hollywood's Yellow Peril and Its Refraction onto 1930s Shanghai National Cinema
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Notes on Contributors
- List of Figures
- Introduction
- Chapter 1 Projecting a More Habitable Globe: Hollywood's Yellow Peril and Its Refraction onto 1930s Shanghai National Cinema
- Chapter 2 Berlin – The City of Sound and Sensation in Fritz Lang's M and E. A. Dupont's Varieté
- Chapter 3 Bond's Body: Diamonds Are Forever, Casino Royale and the Future Anterior
- Chapter 4 Whatever You Say, Say Nothing
- Chapter 5 Imperial Gazes, Hollywood Predators: A Cinema of Molestation in Postcolonial Indian Literature
- Chapter 6 Linguistic Identity in Fruit Chan's 1997 Trilogy
- Chapter 7 The Postnational and the Aesthetics of the Spectral: Hou Hsiao-Hsien's Flight of the Red Balloon
- Chapter 8 The Art Object as Text in the Practice of Comparative Visuality
- Chapter 9 Exploring In-humanity: Gertrude Stein's Tender Buttons and Still-Life Painting
- Chapter 10 Re-defining Art: Manuel Rivas' Mujer en el baño
- Chapter 11 Re-envisioning the Haunting Past: Kara Walker's Art and the Re-appropriation of the Visual Codes of the Antebellum South
- Bibliography
- Index
Summary
Word of California's exclusion of overseas Chinese found its way to China's ports through the circulation of cultural production at the end of the nineteenth century. Representations of US hostility and Chinese hardship played a crucial role in provoking a Chinese urban public already enraged by images of an unjust world under Euro-American imperialism, and by a Qing state powerless in the face of such perceived injustice. For many, the aggression of American capitalism was increasingly linked to the weakness of the Qing court. Burgeoning was a frustrated public pushing for hopes of a more equal global exchange. Thus while the Qing court and the US were negotiating a renewal of the Chinese Exclusion Treaty in 1905, American goods were boycotted on the streets of Shanghai by an agitated urban public demanding just treatment of their overseas expatriates turned compatriots. Though failing to make much of an impact on US policies, the boycott more or less succeeded in forming an alliance between a Chinese urban public and the Chinese diasporas, a cross-Pacific coalition tightened, if only temporarily, by desires for a fairer global imaginary.
While debates over Chinese exclusion in mainstream American discourse at the time often revolved around the problem of Chinese labour, what was at stake for the demonstrators in Shanghai, however, was the dignity of their national image and its place in peril within a modernising world built on unequal global exchange.
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- Information
- World Cinema and the Visual Arts , pp. 1 - 18Publisher: Anthem PressPrint publication year: 2012