Download Excess and Masculinity in Asian Cultural Productions (SUNY by Kwai-Cheung Lo PDF

By Kwai-Cheung Lo

Leading edge research of the connection of gender to East Asian monetary development.

In extra and Masculinity in Asian Cultural Productions, Kwai-Cheung Lo explores the excesses linked to the outstanding fiscal development in East Asia, together with surplus capital, environmental waste, and the unbalanced ratio of fellows to ladies within the zone, connecting the construction of capitalist “excess” to the creation of latest different types of transnational Asian masculinity. Lo attracts on Lacanian psychoanalysis and Marxist principles in addition to gender concept in his exam of East Asian cultural items reminiscent of spiritual and parenting books, transgender literary fantasies, trip writing, gangster video clips, lady motion heroes, and on-line video games. via this research, Lo argues that the surplus of Asia’s “masculine” modernization throws into aid the inner inconsistencies of capitalism itself, posing new demanding situations to the order of world capitalism and suggesting new attainable configurationsof worldwide modernity.

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Additional info for Excess and Masculinity in Asian Cultural Productions (SUNY Series in Global Modernity)

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In Lacan’s understanding of the male side, the universality of phallic power is built upon a constitutive exception. Asian male-led modernity, then, conceives of itself as an exceptional particular that gives body to the universal model of capitalist modernization, struggles for dominance, constitutes the whole of the economic system, and attempts to become the new center of capital. However, the Lacanian formulas of sexuation not only reveal to us that the male side is usually secondary but also disclose that gender identity is always in flux.

The director of the film, Hur Jin-ho, also directed the romance Christmas in August (1998), the first Korean feature to successfully break into the Hong Kong market. But Applause’s greatest hit was Oxide and Danny Pang’s horror film The Eye (2002). The Pang brothers are Chinese Thais who began their filmmaking career in Thailand, whereas leading actress Angelica Lee is a Chinese Malaysian who first gained popularity as a pop singer in Taiwan. The commercial success of The Eye has paved the way for more pan-Asian horror films, which involve little dialogue and thus present fewer language barriers in the transnational market.

7 Sabu’s Postman Blues (1997) even conjures up the Brigitte Lin character—complete with blonde wig and sunglasses—from Wong Kar-Wai’s Chungking Express (1994). The interest in Hong Kong and its heterogeneous type of Chinese culture is not rare in Japanese cinema, which often presents them in an exotic, Orientalist mode. Hong Kong filmmaker Lee Chi-Ngai was commissioned to direct the Japanese film Sleepless Town (1998), which deals with Chinese gang wars in the Kabuki-cho district of Tokyo; Kaneshiro Takeshi was cast as a half-Chinese, half-Japanese gangster.

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