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To Be an Actress: Labor and Performance in Anna May Wong's Cross-Media World.
【Open Accessタイトル】
・ISBN 978-0-520-34632-1 paper US$ 34.95
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お気に入り
★★★
| 著者・編者 | Wang, Yiman, |
|---|---|
| シリーズ | (Feminist Media Histories 7) |
| 出版社 | (University of California Press, US) |
| 出版年月 | 2024 |
| ページ数 | 284 pp. |
| 言語 | ENG |
| ニュース番号 | ＜A04-34072＞ |
解説
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.
Between 1919 and 1961, pioneering Chinese American actress Anna May Wong established an enduring legacy that encompassed cinema, theater, radio, and American television. Born in Los Angeles, yet with her US citizenship scrutinized due to the Chinese Exclusion Act, Wong-a defiant misfit-innovated nuanced performances to subvert the racism and sexism that beset her life and career. In this critical study of Wong's cross-media and transnational career, Yiman Wang marshals extraordinary archival research and a multifocal approach to illuminate a lifelong labor of performance. Viewing Wong as a performer and worker, not just a star, To Be an Actress adopts a feminist decolonial perspective to speculatively meet her as an interlocutor while inviting a reconsideration of racialized, gendered, and migratory labor as the bedrock of the entertainment industries.
Between 1919 and 1961, pioneering Chinese American actress Anna May Wong established an enduring legacy that encompassed cinema, theater, radio, and American television. Born in Los Angeles, yet with her US citizenship scrutinized due to the Chinese Exclusion Act, Wong-a defiant misfit-innovated nuanced performances to subvert the racism and sexism that beset her life and career. In this critical study of Wong's cross-media and transnational career, Yiman Wang marshals extraordinary archival research and a multifocal approach to illuminate a lifelong labor of performance. Viewing Wong as a performer and worker, not just a star, To Be an Actress adopts a feminist decolonial perspective to speculatively meet her as an interlocutor while inviting a reconsideration of racialized, gendered, and migratory labor as the bedrock of the entertainment industries.