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"Ma, Sheng-mei"
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Off-white : yellowface and Chinglish by Anglo-American culture
\"How do English-speaking novelists and filmmakers tell stories of China from a Chinese perspective? How do they keep up appearances of pseudo-Sino immanence while ventriloquizing solely in the English language? Anglo writers and their readers join in this century-old game of impersonating and dubbing Chinese. Throughout this wish fulfillment, writers lean on grammatical and conceptual frameworks of their mother tongue to represent an alien land and its yellowface aliens. Off-white or yellow-ish characters and their foreign-sounding speech are thus performed in Anglo-American fiction and visual culture; both yellowface and Chinglish are of, for, by the (white) people. Off-White interrogates seminal Anglo-American fiction and film on off-white bodies and voices. It commences with one Nobel laureate, Pearl Buck, and ends with another, Kazuo Ishiguro, almost a century later. The trajectory in between illustrates that the detective and mystery genres continue unabated their stock yellowface characters, who exude a magnetic field so powerful as to pull in Japanese anime. This universal drive to fashion a foil is ingrained in any will to power, so much so that even millennial China creates an \"off-yellow,\" darker-hued Orient in Huallywood films to silhouette its global ascent\"-- Provided by publisher.
Book
The Last Isle
Taiwan is in danger of becoming the last isle, losing its sovereignty and identity.The Last Isle opens from where Taiwan film scholarship leaves off--the 1980s Taiwan New Cinema, focusing on relatively unknown contemporary films that are \"unglobalizable,\" such as Cape No.7, Island Etude, Din Tao, and Seven Days in Heaven.
eBook
China pop! : pop culture, propaganda, Pacific pop-ups
\"Takes an autotheoretical approach to critiquing the propaganda embedded in millennial Chinese pop culture, particularly TV dramas, films, and web novels, from both within and outside China\"-- Provided by publisher.
BOOK
Diaspora Literature and Visual Culture
This book offers an incisive and ambitious critique of Asian Diaspora culture, looking specifically at literature and visual popular culture. Sheng-mei Ma’s engaging text discusses issues of self and its relationship with Asian Diaspora culture in the global twenty-first century.
Using examples from Asia, Asian America, and Asian Diaspora from the West, the book weaves a narrative that challenges the twenty-first century triumphal discourse of Asia and argues that given the long shadow cast across modern film and literature, this upward mobility is inescapably escapist, a flight from itself; Asia’s stunning self-transformation is haunted by self-alienation. The chapters discuss a wealth of topics, including Asianness, Orientalism, and Asian American identity, drawing on a variety of pop culture sources from The Matrix Trilogy to Crouching Tiger, Hidden Dragon . This book forms an analysis of the new idea of Asian Diaspora that cuts across area, ethnicity, and nation, incorporating itself into the contemporary global culture whilst retaining a distinct Asian flavor.
Covering the mediums of literature, film, and visual cultures, this book will be of immense interest to scholars and students of Asian studies and literature, ethnic studies, cultural studies, and film.
Introduction I. Asian Diaspora Visual Culture 1. Shadow’s Shadow in Visual Culture: Anime’s Doll, Alien’s Home 2. Inter-Asia Unbilical Love in Visual Culture 3. Chinese Cinema’s Global Dream, Multilinguality and Dialect’s Wake 4. Found(l)ing Taiwanese: From Chinese Fatherland to Japanese Okasan 5. Genesis by the Sword and Special Effects in Korean TV Costume Drama II. Asian Diaspora Literature 6. Chinese Graffiti: Poetic Out from Muk Lau, Tongyan Gaai, and House of English 7. Italic and Indiscernible Asianness in Asian Diaspora Literature 8. Tears of Asian Diaspora: Empathetic Nostalgia from an Eyehole 9. Eileen Chang and Zhang Ailing: A Bilingual Orphan 10. Chink Chic, a.k.a., Shitnoiserie
Sheng-mei Ma is Professor of English at Michigan State University in Michigan, USA, specializing in Asian Diaspora culture and East-West comparative studies.
eBook
The Myth of Nothing in Classics and Asian Indigenous Films
In his article \"The Myth of Nothing in Classics and Asian Indigenous Films\" Sheng-mei Ma discusses how the desert and the permafrost region are terra incognita, except nomads and Indigenous peoples. Given the extreme conditions of these forbidding places, Western modernity sees its own shadow cast on such black holes on earth. Since the 1960s, classic Hollywood or art house films by David Lean, Akira Kurosawa, Hiroshi Teshigahara, Anthony Minghella, and Sergei Bodrov romanticize and/or mythologize what is perceived as modernity's mirror image. Indie films in recent decades, particularly by Asian Indigenous filmmakers Byambasuren Davaa, Zacharias Kunuk, and Khyentse Norbu trained in or collaborated with the West, seek to tell their own stories. Despite different perspectives and modes of representation, both mainstream and alternative film-making agree on the task of myth-making, self-forging out of nothing, and the barrenness and voidness of the land.
Journal Article
Asian Diaspora and East-West Modernity
Drawing from Anglo-American, Asian American, and Asian literature as well as J-horror and manga, Chinese cinema and Internet, and the Korean Wave, Sheng-mei Ma’s Asian Diaspora and East-West Modernity probes into the conjoinedness of West and East, of modernity’s illusion and nothing’s infinitude. Suspended on the stylistic tightrope between research and poetry, critical analysis and intuition, Asian Diaspora restores affect and heart to the experience of diaspora in between East and West, at-homeness and exilic attrition. Diaspora, by definition, stems as much from socioeconomic and collective displacement as it points to emotional reaction. This book thus challenges the fossilized conceptualizations in area studies, ontology, and modernism. The book's first two chapters trace the Asian pursuit of modernity into nothing, as embodied in horror film and the gaming motif in transpacific literature and film. Chapters three through eight focus on the borderlands of East and West, the edges of humanity and meaning. Ma examines how loss occasions a revisualization of Asia in children's books, how Asian diasporic passing signifies, paradoxically, both \"born again\" and demise of the \"old\" self, how East turns \"yEast\" or the agent of self-fashioning for Anglo-America, Asia, and Asian America, how the construct of “bugman” distinguishes modern West's and East's self-image, how the extreme human condition of \"non-person\" permeates the Korean Wave, and how manga artists are drawn to wartime Japan. The final two chapters interrogate the West's death-bound yet enlightening Orientalism in Anglo-American literature and China's own schizophrenic split, evidenced in the 2008 Olympic Games.
eBook