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Home , China Mountain Zhang, City of Life and Death, Geling Yan, Gong Li, Jackie Chan, Joan Chen

Notes

Notes to Chapter 1 1. When Jean-Jacques Annaud’s flm Wolf Totem came out in 2015, an ethnic Mongolian writer Guo Xuebo claimed that the “movie, released at Lunar New Year and showing folk traditions, rituals and lives of the ethnic Mongolian nomads and their bond with wolves, distorts the truth.” See Laura Zhou’s “Wolf Totem: writer blasts hit flm over ‘fake’ Mongolian culture” in the South Morning Post on February 24, 2015. 2. See Edmund Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, particularly Chap. 7, “On the Sublime”. 3. J. Gerard Dollar in “In Wilderness is the Preservation of China” labels Jiang Rong’s novel as “‘neo-naturalistic,’ a Chinese novel in the spirit of Jack ” (412). 4. Hermann Hesse’s Steppenwolf (1929) suggests the lineage from European to American cultures. Hesse’s protagonist resembles a “wolf of the Steppes that had lost its way and strayed into the towns and the life of the herd” (18). The steppes would take the fgurative “werewolf” (62) all the way across Central to the Orient. But it is a mere Orientalist gesture to increase the polarity within the protagonist, a device to sharpen the contrast of “God and the Devil” within Christianity, goodness and the temptation

© The Editor(s) (if applicable) and The Author(s) 2017 203 S.-M. Ma, Sinophone-Anglophone Cultural Duet, DOI 10.1007/978-3-319-58033-3 204 NOTES

of evil. “There is God and the devil in them; the mother’s blood and the father’s; the capacity for happiness and the capacity for suffering; and in just such a state of enmity and entanglement were the wolf and man in Harry” (48). The wolf is, needless to say, a fgure of speech. 5. This dichotomy of wolves and sheep is common in “recent Chinese writings,” according to Chengzhou He in “Poetic Wolves and Environmental Imagination.” Many Chinese writers, such as Jia Pingwa in Huainian lang (Remembering the wolves), portrayed wolves “in an unusually positive and appreciating manner” (398). 6. J. Gerard Dollar in “In Wilderness is the Preservation of China” asserts that the exile is “a radical dislocation from , an exile so extreme that it leads to the death of an old self and the fashion- ing of a new pilgrim self … an important part of each pilgrim- age is the attempt to fnd and recover the wild” (417). However, Joan ’s flm Xiu Xiu:The Sent Down Girl (1998) presents an urban woman willing to give up her body repeatedly to obtain offcial approval to return to the city, alas, to no avail. Chen’s bleak portrayal of a corrupt and woman-eating Maoist China accounts for the flm’s total ban in China. 7. Chengzhou He in “The Wolf Myth and Chinese Environmental Sentimentalism in Wolf Totem” describes these “new arrivals” as “most of them Han Chinese” (787). 8. Chengzhou He in “Poetic Wolves and Environmental Imagination” argues that it is because of defeats in the early part of the twenti- eth century that the Chinese began to study this “foreign, alien but vital image in culture,” including Jack London. He con- tends that “the Western wolf images were brought in and praised in order to break down the centuries-old feudal ideas of passivity and obedience that had confned the minds of Chinese people and sup- pressed their natural desires and feelings” (399). 9. See Tessa Thorniley’s “Andrew Simpson: The Wolf Whisperer” in The Telegraph, 25 June 2012. 10. See Qiao Meng and Noritah Omar, as well as the Wolfgang Kubin entry in http://en.wikipedia.org/wiki/Wolfgang_Kubin# cite_note-10. 11. See Tennyson’s In Memoriam: “Who trusted God was love indeed/And love Creation’s fnal law/Tho’ Nature, red in tooth and claw/With ravine, shriek’d against his creed”. NOTES 205

Notes to Chapter 2 1. That elsewhere ranges as far as Africa, “China’s Second Continent,” and “Ghina.” Peering into Chinese ethnocentrism from outside, Christine Choy gives her 2014 documentary of China’s migrants in Ghana that wry title of Ghina; Howard French also favors a fg- ure of speech no less neologistic for his 2014 book subtitled How a Million Migrants Are Building a New Empire in Africa. Both Choy’s coinage and French’s metaphor suggest Chinese neoimperial domination of Africa, a new scramble for the “dark” continent. The scramble stems from a self-identity as a victim of history, struggling to achieve its, so-called, Manifest Destiny in the new . 2. See Jing Yang’s “Rewriting the Chinese National Epic in an Age of Global Consumerism: City of Life and Death and ”. 3. See Hu and , p. 1. 4. One example of how Ha Jin dramatizes Vautrin’s failure to per- ceive sexual crimes against young students who seemed to return unscathed, occurs in Hu and Zhang’s “Appendix.” In Vautrin’s record of “The First Ten Days of Japanese Occupation, December 13–23,” Vautrin attributes the miraculous release of six girls to “prayer”: “six of the girls came back at fve the next morning unharmed—both of these we believe were wrought by prayer” (179). Vautrin’s “royal we” does not include Ha Jin’s Anling, who, although a Christian, keeps mum about her suspicion of the girls’ harrowing experiences. 5. See Sheng-mei Ma’s Alienglish (2014), especially Chap. 11, “New China Hands: The Ugly Chinese through Ha Jin’s Fourth Wall of English”. 6. Harman’s radical changes to Yan’s original are endorsed by Glen Jennings’s review “The High and the Low”: Nicky Harman “makes substantial and effective choices in the way she presents the narrative voice and the structure of The Flowers of War. She dispenses completely with Yan’s plot device from the original Chinese novel (金陵十三钗 [13 Flowers of Nanking]) of using the narrator’s adult aunt to look back on events as a source of histori- cal information and refection on character and intent. Instead, Harman keeps attention focused tightly on the action as it unfolds, especially with the thirteen-year-old school girl Shujuan 206 NOTES

as she experiences war from the threatened church compound. Harman’s decision to concentrate on the moment of initial expe- rience renders the narrative voice immediate and engaging. We sense the visceral fear and horror of the Nanking massacre as it wounds or destroys the individuals we come to know”. 7. Zhang’s flm was selected as the Chinese entry for Best Foreign Language Film at the 84th in 2011, but it did not make the fnal shortlist. It was a big blow to Zhang and to the Chinese audience. 8. See Jing Yang’s “Rewriting the Chinese National Epic in an Age of Global Consumerism: City of Life and Death and The Flowers of War,” 249. 9. The conceit of concluding at the moment when the of Nanking is set to engulf the city resembles Aharon Appelfeld’s Holocaust fction Badenheim 1939 (1980), except that Appelfeld’s satire and critique of European Jewry’s wishful thinking stems from a Holocaust survivor’s frsthand experience. 10. To borrow from Mizumura’s The Fall of Language in the Age of English.

Notes to Chapter 3 1. See Chap. 4, “My Aspergirl: ’s Millennium Trilogy and Visualizations,” in Sheng-mei Ma’s Alienglish: Eastern Diasporas in Anglo-American Tongues (2014). 2. See Stuart Murray’s Representing (2008), which contends that autism has become “badges of personality, signs of eccentricity” (1) through “sentimentalizing narratives of mainstream news media” (4). Autism turns into a “cause célèbre,” a “fashion” (11), rendering “autism and savantism … synonymous” (65). Murray also advances the notion of “idiot savant” (66). 3. Ian Hacking in “Humans, Aliens and Autism” notes that autists routinely make no eye with others, nor do autists’ eyes show much emotion. “Some neurotypicals are frightened by the blankness,” Hacking continues, “for they feel that maybe there is no soul there” (52). 4. A favorite Zen koan, the fnger pointing at a moon that is not the moon. This is used by in (1973) when NOTES 207

Lee urges “emotional content” in kicks and the need to “feel” certain spirituality beyond the body’s extremities, be it one’s foot or one’s fnger. 5. In “Humans, Aliens and Autism,” Ian Hacking theorizes an egalitar- ian relationship between “neurotypicals” and autists in a “neurodiver- sity movement” (46). Naoki Hidashida, an autistic thirteen-year-old, also advances that autism is normal to people with autism ( [2007] 45). 6. Henri Bergson in Laughter (1900) argues that mechanical inelastic- ity or the inability to adapt constitutes comical performances. For the audience, readers, and spectators to laugh at the comic’s misery and faux pas, it requires a distancing of compassion, even heartlessness. 7. Even the satirist-novelist Yu Hua uses Archimedes’ maxim in the Preface to China in Ten Words (2011), which goes to show how prevalent the drive for earth-shaking excellence is in contemporary China that even someone with as iconoclastic a streak as Yu Hua would fall for Archimedes’ rhetorical infation. 8. Photographic memory is a trait often attributed to fctitious char- acters with Asperger’s Syndrome, such as Lisbeth Salander in Stieg Larsson’s millennium trilogy. Bartleby in Herman Melville’s epon- ymous story is a scrivener, a copyist, who predates cameras and Xerox machines. Temple Grandin’s Thinking in Pictures (1995) professes that her autism dictates not only photographic memory but also a thinking process in pictures. 9. By Eastern Occidentalism, I am not referring to Xiaomei Chen’s Occidentalism (1995), which is on a China very different from today’s.

Notes to Chapter 4 1. William Ashbrook and Harold Powers in Puccini’s Turandot (1991) observe that “Puccini’s heirs, then were D.L. Griffths and Cecil B. De Mille—or in our day, Dino De Laurentiis and Franco Zeffrelli. Perhaps the emergence of Zeffrelli … may even be taken as symptomatic of a fnal convergence of these two modes of sur- vival [as opera and as flm] for the Great Tradition of Italian opera” (“Introduction” 5). 2. See Aimé Césaire’s A Tempest (1969), where Caliban is a black slave. 208 NOTES

3. In his correspondence with his librettists, Puccini already manifests a blurring of Oriental clowns and philosophers. Puccini advises: “Do not make too much use of the traditional characters of the Venetian drama—these are to be the clowns and philosophers that now and then inject a jest of an opinion” (qtd. Ashbrook and Powers 61), hence, my term “pathetic philosophers” for the three P’s. 4. See Girard’s The Scapegoat (1986) and Violence and the Sacred (1972). 5. See Chap. 9, “Rodgers and Hammerstein’s ‘Chopsticks’ Musicals,” in Sheng-mei Ma’s East-West Montage (2007). 6. Ping’s “house in Honan” is qualitatively different from Robert Browning’s “Home-Thoughts, From Abroad” (1845): “Oh, to be in England, / Now that April’s there.” Browning wrote the poem while visiting Italy, looking homeward. Ping is serving the Emperor at the heart of the empire, Peking, reminiscing about a house to the south within its borders. 7. Laosanjie (Old three years) means junior and senior high school graduates from 1966–8, whose school careers were interrupted by Chairman Mao’s chaotic (1966–76). Instead of having moved on to the next stage of their learning, they often- times were dispatched to the countryside and remote areas to “learn from the peasants.” Their thwarted lives did not return to normal until 1977 when universities reopened and entrance exami- nations made special allowances for these students trickling back in 1977–9. Both born in 1950 and born in 1952 fall roughly into this category.

Notes to Chapter 5 1. See Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” in which aura is introduced to describe an original art work as opposed to reproductions via machines. 2. “The Nature of Yi” in The Book of Rites states “There are three hundred and sixty types of feathered worms, headed by the phoe- nix; there are three hundred and sixty types of hairy worms, headed by the qilin [unicorn]; there are three hundred and sixty types of shelled worms, headed by the tortoise; there are three hundred and sixty types of scaled worms, headed by the dragon; NOTES 209

there are three hundred and sixty types of naked worms, headed by the human.” (Dadai Liji Exegesis, 259–60). 3. See Leyerle’s “The Interlace Structure of Beowulf.” 4. It has puzzled Old English scholars for generations as to why the Beowulf poet presents Sigemund rather than Sigurd or Siegfried as the dragon-slayer. Sigemund is Sigurd’s father in Germanic mythology. 5. See Jana K. Schulman’s “Translating Beowulf”. 6. Based on Beowulf’s parallels and analogues, Christine Rauer in Beowulf and the Dragon (2000) contends that the dragon’s bar- row, in general, issues a hot “‘stream’ … either streaming fre, or water” (39). She also identifes four of the dragon’s recurring main characteristics: “fre, the compulsive hoarding of treasure, the dragon’s nocturnal nature and its inquisitiveness” (34). 7. Ruth Waterhouse in “Beowulf as Palimpsest” draws that very connection: “Like Dracula and other vampires, the dragon (OE draca) mortally wounds his victim, Beowulf, by biting his neck” (28). Waterhouse summarizes, “From the twentieth-century per- spective, the monster it most resembles is Dracula (whose very name suggests a diminutive draca).” As Jonathan Harker and Quincey Morris use their knives to “shear through the throat” and “plunge into the heart” of Dracula (Dracula 447), Beowulf and Wiglaf also coordinate their attacks on the dragon (33). 8. The compartmentalization is only on the surface. Subtextually, the cyclical, chiastic nature of the Nordic worldview is apparent in The Poetic Edda. The Poetic Edda’s “The Seeress’s Prophecy” or “Voluspa” ends with the rebirth after Ragnarok. But within the rebirth, seeds of destruction and death in the image of the dragon are already lurking: “There comes the shadowy/dragon fying,/glit- tering serpent, up / from Dark of the Moon Hills.” (Dronke 24). 9. Anthony C. Yu in Comparative Journeys (2009) cites Tripitaka’s regrets over the fate of the “four”—not fve—uniting for the pilgrim- age: “Fate, most bitter, caused what we four had met, / And merits, three thousand, are all o’erthrown.” (qtd. Yu 118). But without the carrier of Tripitaka’s mortal body, the pilgrimage would have never been concludedd. The Dragon-Horse is excluded from the pilgrimage because of a human-centric ideology where a horse is deemed a mere tool. By contrast, Qiancheng Li in Fictions of Enlightenment notes “the correspondences of the four pilgrims and the dragon horse to the 210 NOTES

Five Phases” (85). Li arrays the varying correspondences of Monkey with fre, Pigsy with wood, Sandy with metal, Tripitaka with earth, and the Dragon-Horse with water. Li obviously agrees with the notion that the pilgrimage consists of fve rather than four members. 10. Anthony C. Yu borrows from Tripitaka’s own Record of the Great Tang Western Territories in depicting “a dragon pool (longchi龍 池) in which dragons are said to mate with fne mares to produce dragon-horses” (168). 11. In Chinese, smart phone users who are perpetually looking down at their screens are called ditouzu (低頭族bow-head tribe). 12. Almost all popular culture representations of dragons have been excluded for the sake of length. Tolkien’s in The Hobbit and the comical dragon in Farmer Giles of Ham serve as a foil to Beowulf’s evil dragon. Dragons also contribute to such children’s classics as The Reluctant Dragon and Pete’s Dragon, to Disney ani- mation The Sword in the Stone and ’s Jurassic Park. In Asia, Bruce Lee’s Enter the Dragon and The Way of the Dragon (Return of the Dragon) are only two examples of the instinctive deployment, almost unthinkingly, of the trope of dragons. Nor does the argument touch on the classic longde zhuanren (“Descendants of the Dragon,” music and lyrics by Hou Dejian), a pop song that traverses the cross-strait divide.

Notes to Chapter 6 1. So popular is the koan of “The fnger pointing at the moon” that Bruce Lee in Enter the Dragon (1973) alludes to it in disciplining, along with a few slaps and kicks, a kung fu novice. Chinese has always loved to imbue themselves with pseudo-philosoph- ical profundity. Popular culture, Eastern and Western, favors such transcendent propping-up, even in the distinctly unpopular, elitist Zen or Chan Buddhism. 2. See Jing Yang’s “Rewriting the Chinese National Epic in an Age of Global Consumerism: City of Life and Death and The Flowers of War,” 249. 3. See Brooks Barnes and Amy Qin’s “The East Lobs a Blockbuster- Hopeful to the West With ‘The Great Wall’”. NOTES 211

4. Such conceits to introduce translation diegetically have always been rather awkward. Besson uses a speakerphone and a comic touch from a translator who has studied “one year at New York’s International High School.” In the sci-f Snowpiercer (2013), Korean star Kang-ho Song resorts to the device of an automatic voice interpreter held close to his throat to justify speaking in Korean. Despite the voice interpreter, Song’s speech still requires his daughter and others to translate. 5. See Eric G. Wilson’s Chap. 1 “The Melancholy Android” in The Melancholic Android (2006).

Notes to Chapter 7 1. The pidgin-sounding “longtime Californ”’ has already invalidated the subjects as native Californians. Similar to the Filipino term of Manong for older Filipino Americans, it refers to immigrants who have sojourned in the USA without having been assimilated into the culture and the English language, oftentimes converging in Chinatowns and other ethnic enclaves. The term is self-contradic- tory: the word “longtime” underlines the fact that much time has been wasted if the speaker continues to clip off the last syllable of “California” like a newcomer with a “stiff tongue” or tongue-tied. The coauthoring Nees use the term to transform a loaded, derog- atory term into a source of selfhood, as ethnic Americans invari- ably fashion their self-identities vis-à-vis the mainstream white culture. 2. See Werner Sollors’s Beyond Ethnicity: Consent and Descent in American Culture (1986). 3. See Marianne Hirsch’s Family Frames (1997), where Hirsch argues: “Postmemory is distinguished from memory by generational dis- tance, and from history by deep personal connection.” She adds that Postmemory is “recollection … through an imaginative invest- ment and creation … Postmemory characterizes the experience of those who grow up dominated by narratives that preceded their birth, whose own belated stories are evacuated by the stories of the previous generation shaped by traumatic events that can be neither understood nor recreated” (22). 212 NOTES

4. See Sau-ling Cynthia Wong’s “Introduction: Constructing an Asian American Textual Coalition” to Reading Asian American Literature (1993). 5. See “The Fate of Accidental Taiwanese: Five Ways to Leave Your Father,” the last chapter of Sheng-mei Ma’s The Last Isle: Contemporary Film, Culture and Trauma in Global (2015). 6. Yet another Orientalist commodity based more on Western than Eastern tradition, medieval knights’ mortal combat, as parodied in ’s The Court Jester (1955), gave rise to the video games and flms of the Mortal Kombat franchise, which infuenced even Asian American graphic novels. 7. To be fair, Chinese emigrant writers are just as prone to self- Orientalizing ­as Western writers to Orientalizing. Ha Jin, Yiyun Li, Xiaolu Guo, and other Chinese writers writing in English resort constantly to the banality of sexual perversion and Oriental erotica. 8. The alien immigrant mother is a stock character in Asian American literature. Dmae Roberts’ radio play Mei Mei: A Daughter’s Song (1988) morphs into the stage play “Breaking Glass” (1995), which gives listeners a mother fgure who is dressed up as a extraterrestrial alien.

Notes to Chapter 8 1. See Sheng-mei Ma’s “Introduction” to Alienglish (2014). 2. Korean American comedienne Margaret Cho from the Bay area coined the Midwaste when she recalled her despair sitting at an Indiana gas station/restaurant, between jobs, with Hoosier farmers staring at her “in a huge leopard-skinned coat and Jackie O sun- glasses eating watery chilli … thinking about all the people in the world having a good time, times I could never have out here in the Midwaste” (I’m the One That I Want 98). 3. See Adrienne Raphel’s “Our Dolls, Ourselves?” Raphel’s question mark may well be a period.

Notes to Chapter 9 1. See Susan Sontag’s Illness as Metaphor and Aids and Its Metaphors (1990). NOTES 213

2. M. Keith Booker contends in “On Dystopia” that “the dystopian turn taken by American literature and popular culture in the early twenty-frst century are also responses to real, specifc events in recent history, such as the September 11, 2001 bombings … not to mention the fact that the US economy has been in sad shape pretty much throughout the century’s frst decade and beyond” (1–2). Booker’s reference to American literature in the twenty-frst century certainly includes Lee’s novel published in 2014. 3. See Frank Chin’s “The Chickencoop Chinaman” and “The Year of the Dragon” 4. See Betsy Huang’s “Orientalist .” 5. See James H. Thrall’s “Learning to Listen, Listening to Learn: The Taoist Way in Ursula K. Le Guin’s The Telling”. 6. Other writers who play with this immigrant license include Ji Eun Lee. In “Collective ‘We’ and the Communal Consciousness of Diaspora Identity in Chang-rae Lee’s On Such a Full Sea,” Lee identifes Lee’s novel as “incorporating his experience as an immigrant” (217).

Notes to Chapter 10 1. China’s frozen gyoza was alleged to have caused food poisoning in in 2008, echoing the word play of fed and fed up with. See Sugita’s “Gyoza and Family Value”. 2. For an analysis of Oldboy’s Orientalized hypnotist, see Sheng-mei Ma’s Asian Diaspora and East-West Modernity (2012), particularly Chap. 1, “Asian Cell and Horror”. 3. Vodka has an unsavory association with alcoholism, prevalent in the land from which it hails. See Mark Lawrence Schrad’s Vodka Politics (2014). 4. See Avril Horner and Sue Zlosnik’s Gothic and the Comic Turn (2005).

Notes to Chapter 11 1. Robert Burgoyne in Film Nation: Hollywood Looks at U.S. History (1997) writes that “In the twentieth century United States, the nar- rative forms that have modelled national identity most profoundly are arguably the western and the war flm” (8). 214 NOTES

2. Susan Kollin in Captivating Westerns: The Middle East in the American West (2015) links the West and the Western. The two allude to both the flm genre and the East-West dichotomy. Kollin reads the West into many narratives in the vein of Mary Rowlandson’s captivity prototype. The West refers not only to “an American region” but also to a West “that is a key term in postco- lonial studies, itself an imagined concept necessarily set in relation to a constructed and often vilifed ‘East,’” or rather, Middle East in Kollin’s monograph (23). 3. D.T. Suzuki’s The Zen Doctrine of No-Mind (1949) epitomizes the Zen craze in the West, which is attracted to an Eastern mystical vision of a cosmic mind. 4. Thomas Lahusen calls Manchuria at the turn of the last century “the site of competing colonialism and confict between Russia/the Soviet Union, Japan, Western powers, and a China ravaged by war- ring factions, civil war, and invasion” (“Introduction.”) 5. Alfred Hitchcock describes “McGuffn” (or MacGuffn) in a 1939 lecture at : “[We] have a name in the studio, and we call it the ‘MacGuffn.’ It is the mechanical element that usu- ally crops up in any story. In crook stories it is almost always the necklace and in spy stories it is most always the papers.” The mys- tery and thriller genre deploys McGuffn as the mover of the plot, a treasure or secret that protagonists and antagonists vie to obtain. Cf. Francois Truffaut’s 1966 interview of Hitchcock in Sidney Gottlies and Christopher Brookhouse’s Framing Hitchcock, 47–8. 6. See Stanley Corkin’s Cowboys as Cold Warriors: The Western and U.S. History (2004). Corkin notes that The Great Train Robbery (1903) was the frst hit flm of the new medium, signaling the ser- endipitous “concurrent emergence of the flm Western and of flm itself” (8). Train robberies have become a formulaic opening in Noodle Westerns to denote faraway, even otherworldly, fantasies; in addition to the Asian flms explicated herein, ! (2010) also starts with a comic train robbery and in it the antago- nist’s self-emblem is a cowboy hat. 7.  has perfected a version of , screwball on exaggeration, obscenities, nonsensical plot, dialogues, and action in a series of flms, including Shaolin Soccor (2001) and (2004). These turn-of-the-century comedies were followed, alas, by lackluster flms. NOTES 215

8. Stanley Corkin in Cowboys as Cold Warriors sees the high point of Hollywood Westerns between 1946 and 1962 as a time when flms “metaphorically narrate the relationship between the United States and the world” (3), that is as cold warriors. The USA as the super- power after World War II, Westerns graft “the historical onto the mythic” (3). By the same token, the millennial decline of the USA is also refected in Westerns. 9. Austin Fisher in Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema (2011) remarks that the myth of the American West is borrowed to depict the rural and backwards southern Italy. The south is treated as “an ‘Africa’ or an ‘Orient’ as northern momentum gathered behind this nation- building project” and “a vast safety valve for social tensions, offer- ing boundless opportunities for rebirth and enterprise” (47, 48).

Notes to Chapter 12 1. A term in vogue from pop psychology today, the “talking cure” originated from Studies on Hysteria (1893–5), in which Josef Breuer and Sigmund Freud commented on their patient Anna O.: “each symptom disappeared after she had described its frst occurrence … she entered into the ‘talking cure’ with the greatest of energy” (40). 2. Owing to an international dismissal of a Taiwanese identity, the Ah-prefxed naming remains an integral part of Taiwan flms’ nativi- zation. This is reminiscent of John Proctor’s cri de coeur in Arthur Miller’s The Crucible (1953): “I have given you my soul; leave me my name!”. 3. When China began its ascent around the turn of the century, its favorite slogan was Daguo jueqi (Empire rises), the title of one of China’s favorite TV programs. It was subsequently revised as Heping jueqi (Peaceful rise), as part of a non-belligerent, soft power strategy. 4. Leo Ou-fang Lee cites Zhou Zuoren, Lu Xun’s young brother, in making this observation. See Voices from the Iron House, p. 76. 5. See Chien-juh Gu’s “Disciplined Bodies in Direct Selling” on the case study of Amway in Taiwan. Gu contends that “direct selling is often described as a religion—or even a cult—in Taiwanese society” and that it is alleged to save “people from poverty and endless labor in ‘traditional’ jobs” (151, 165). 216 NOTES

6. See John E. Ingulsrud and Kate Allen’s Reading Japan Cool (2009). 7. See Sheng-mei Ma’s The Last Isle (2015), particularly Chap. 3, “Mazu’s Touch, Taiwan Nezha, and Crying. 8. See Sigmund Freud’s Totem and Taboo (1913), where Freud boldly links the Oedipal complex with “cannibal savages”: “One day the brothers who had been driven out came together, killed and devoured their father … Cannibal savages as they were, it goes without saying that they devoured their victim as well as killing him. The violent primal father had doubtless been the feared and envied of each one of the company of brothers: and in the act of devouring him they accomplished their identifcation with him, and each one of them acquired a portion of his strength” (141–2). To be empowered through cannibalism is eerily akin to Christian sacrament and the transubstantiation of Christ’s body and blood. Bibliography

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A Bilingualism, 107, 119, 120 Annaud, Jean-Jacques, 3, 20 The Blue Wolf: A Novel of the Life of Asperger’s syndrome, 39–43, 48, 49, Chinggis Khan, 8 51, 55, 56 Blust, Robert, 70 Aspie, 39, 41–44, 47, 48, 51–53, 55, Bodrov, Sergey, 8 56 The Book of Changes (Yijing), 80 The Assassin, 179, 199 Bowie, David, xiii A Woman, a gun and a noodle shop, Bulosan, Carlos, 129 174, 176 Burke, Edmund, 4

B C Balapan: The Wings of the Altai, 8 The Call of the Wild, 3, 6, 10, 14 Bale, Christian, 25, 34, 37, 94 Caniff, Milton, 116, 117 Balzac and the little chinese seamstress, Cape no. 7, 189, 199 11 Césaire, Aimé, 58 2008 Beijing Olympics, 54, 64 Chang, Eileen, 119 Benjamin, Walter, 69 Chang, Iris, 33 Beowulf, 43, 69, 71–78, 80–82, 84, 85 The Chef, the Actor, the Scoundrel, 174, Beowulf and Grendel, 76 177 Bergson, Henri, 50 Chen, Joan, 111 Berry, Michael, 36 Cheng, Anne anlin, 104 Besson, Luc, 95 Chen Kaige, 58, 61, 65, 94, 208 Betelnut Beauty, 198 China Dream, 24, 53, 67

© The Editor(s) (if applicable) and The Author(s) 2017 235 S.-M. Ma, Sinophone-Anglophone Cultural Duet, DOI 10.1007/978-3-319-58033-3 236 Index

China Mountain Zhang, 138, 144 F Chinatown, 87–89, 99, 103, 104, Fafnir, 73, 74, 79 107–109, 115–118, 122, Fan, Christopher T., 140, 154 170 Farewell My Concubine, 66 , 57, 58, 60, 61, 66, 68 The First Emperor, 67, 110 Choi, Min-sik, 166, 170 The Five Chinese Brothers, 118 Cho, Margaret, 127 Flower Drum Song, 60 Chow, Stephen, 178 The Flowers of War, 25, 30, 32, 94 Choy, Christine, 205 Flying Dragon, Dancing Phoenix, 189 Chu, Louis, 125, 146 Freud, Sigmund City of Life and Death, 25, 29, 37, 199 “From the History of an Infantile A City of Sadness, 188 Neurosis [The ‘Wolfman’]”, Collins, Wilkie, xiii 5 Crouching Tiger, Hidden Dragon, 176 “Mourning and Melancholia”, 104, The Cultural Revolution, 10, 11, 13, 190 17, 18, 53, 54 “On the Transformation of Instincts with Special Reference to Anal Erotism”, D 158 Dai Sijie, 11 Studies on Hysteria, 223 Darwin, Charles, 5 Three Essays on Sexual Theory, 159 Davidson, Michael, 47 Totem and Taboo, 4 Davis, Lennard, 43 Decoded, 39, 44, 52, 55, 56 Denton, Kirk A., 24 G Dick, Philip K., 140, 147 Garland, Alex, 98 Din Tao, 189 Genghis khan, 4, 8, 13, 18, 171 Django Unchained, 173 Ghost Dog: The Way of the Samurai, 89 Doc Martin, 39, 41, 44–46, 48–51, Ghost in the Shell, 93, 98 53, 55, 56 Gibson, William, 140 Dollar, J. Gerard, 144 Girard, Rene, 59 Dracula, 7, 74, 184, 185 Goldblatt, Howard, 16, 20 Dragon-Horse, 71, 79, 80, 82–84 Gollum, 79 Doctor Strange, 93 Gong Li, 90, 94, 95 Duras, Marguerite, 21 The Good, the Bad and the Ugly, 174, 177 The Good, the Bad, the Weird, 174, E 177, 183 Exhibiting the past: historical memory Gozzi, Carlo, 57, 61, 63 and the politics of museums in Grandin, Temple, 64, 84, 182 postsocialist china, 24 The Great Leap Forward, 54 Ex Machina, 98, 201 The Great Train Robbery, 177, 183 Index 237

The Great Wall, 94 John Rabe, 25 (The Goddess of Mercy), 81 Journey to the West, 69 Gu, Ming Dong, xiv Jump, Ashin!, 189 Gunnarsson, Sturla, 75

K H Kaige, Chen, 58 Hacking, Ian, 40, 48 Kano, 199 Ha jin, 26–30 Kill Bill, 173, 179 Hannibal Rising, 88 The King and I, 60 Harman, Nicky, 30 Kingston, Maxine Hong, 104, 127 Heaney, Seamus, 69, 76, 84 Kosinski, Jerzy, 26, 39, 52 He, Chengzhou, 13 Kubin, Wolfgang, 20 Hesse, Hermann, 203 Kung Fu, 89, 113, 115, 117, 151, Hirsch, Marianne, 103 153, 161, 173, 174 Hitchcock, Alfred, 177 Kurosawa, Akira, 92, 115, 173 Holmes, Sherlock, 40 The Host, 72, 183 Hsiao-hsien, Hou, 188, 199 L Huang, Yunte, xiv Larsson, Stieg, 39, 43, 52 Huang, Yu-shan, 188, 191, 194, 195, The Last samurai, 92, 173, 182 199 Lee, Ang, 176, 183 Lee, Bruce, 181 Lee, Byung-hun, 92, 95 I Lee, Chang-rae Immigrant license, 127, 136, 143, 148 A Gesture Life, 142 Inoue, Yasushi, 8 Aloft, 142 , 118 Native Speaker, 123, 126, 142, 148 Into the Badlands, 173 On Such a Full Sea, 139, 213 Ishiguro, Kazuo, 98, 124 The Surrendered, 142 Island Etude, 189 Lee, Leo Ou-fang, 215 Lee, Sngmoo, 181, 182 Lee, Spike, 157, 162, 166, 167, 169, J 171 Jang, Dong-gun, 93, 178, 180, 184 Lethem, Jonathan, 39, 43 Jarmusch, Jim, 89 Levi, Primo, 23 Jia, Mai, 39, 41, 44, 51, 53–56 Li, Gong, 88 Jiang Rong, 10 Li, Jet, 39 Jin, Ha, 25–28, 30 Li, Yiyun, 119 Jinping, Xi, 24, 53 Life of Pi, 183 Jiusi, Wang, 9 Lin, Cheng-sheng, 188, 195, 199 Johansson, Scarlett, 93, 95 Link, Perry, 55 238 Index

Lin Yutang, 119 Short Girls, 127 Little House on the Prairie, 130, 133, Stealing Buddha’s Dinner, 127, 128 135 Night Market Hero, 189, 200 27 °C—Loaf Rock, 188, 195 Ninja Assassin, 174, 178 London, Jack, 3, 6, 7, 11, 14 Noodle Western, 173–175, 184–186 The Lover, 20, 162 Lucy, 95–98 Lu Chuan, 25, 29, 37, 199 O Ocean Heaven, 39 Offenbach, Jacques, 60 M Oldboy, 39, 41, 157–159, 162, Madame Butterfy, 60, 61, 121 166–168, 171, 185 The Magnifcent Seven, 92, 93, 173 Ong, Walter, 62 Marshall, Rob, 90 On Such a Full Sea. See Lee, Chang- , 115, 161, 173, 186 rae McHugh, Maureen F., 138 On the Origin of Species, 5 Mehta, Zubin, 58 The Orphan of Asia, 188, 189, 197 The Melancholy of Race, 104 Oshii, Mamoru, 93 , 90 The Mikado, 60 Minegishi, Nobuaki, 157 P Miss Saigon, 60 The Painted Veil, 94 Mitchell, David T., 41 Park, Chan-wook, 93, 157, 158, Mitchell, W. J. T., 110 160–162, 168, 183, 184 Mizumura, Minae, 206 Pioneer girl. See Nguyen, Bich Minh Mizuno, Sonoya, 98 Polanski, Roman, 87 Mongol, 8 The Promise, 94 Monkey, 69, 71, 79–85, 93, 112, 121 The Prose Edda, 73, 74 The Monkey King 2, 84 Puccini, Giacomo, 57 Moonstone, xiii Moy, James, 121 Mulan, 60, 64 R Murmur of Youth, 198 The Rape of Nanking: The Forgotten Murray, Stuart, 39, 48 Holocaust of World War II, 26 Riding Alone for Thousands of Miles, 94 N Ringu, 169 Nanjing 1937: A love Story, 26, 36 Roberts, Dmae, 212 , 25, 36 Robisch, S. K., 6 Nanjing Requiem, 25, 26, 36 Rong, Jiang, 14, 17 Never Let Me Go, 98 47 Ronin, 173 Nguyen, Bich Minh Rush, Geoffrey, 93, 179 Pioneer Girl, 127 Ryall, Chris, 75 Index 239

S Tennyson, Alfred, 204 Sardar, Hamid, 8 Terminator: Genisys, 92 Saving Face, 99 Thirst, 123, 170, 185 Scott, A. O., 64 Three Extremes, 93 Scott, Ridley, 140 Todorov, Tzvetan, 109 Scott, Walter, xiii Tolkien, J. R. R., 71 Sea Dragon King, 79, 81, 82 Tsu, Jing, xiii Seven Days in Heaven, 189 Tsuchiya, Garon, 39, 157 Seven Samurai, 92, 115 , xiv Seven Years in Tibet, 20 Turandot, 57–67 Shanghai Express, 89 The Turandot project, 64, 65 Sherlock Holmes and the Case of the Silk The Twilight Samurai, 92 Stocking, 94 Shih, Shu-mei, 189 Short girls. See Nguyen, Bich Minh V Sijie, Dai, 11 Vautrin, Minnie, 25, 26 Sinophilia, 138, 147, 152 Sinophobia, 138, 147, 152 Snowpiercer, 183, 184 W Social Darwinism, 3, 4, 10, 15 Waiting, 18, 27, 29, 76, 118, 124, Soderbergh, Steven, 150 147, 200 Sollors, Werner, 103 Waley, Arthur, 69, 82, 84 Spaghetti Western, 173–175, 177, Wallen, Martin, 7 178, 186 Wang, Wayne Spivak, Gayatri Chakravorty, 143 Chan is Missing, 99 Splendid foat, 189 Dim Sum: A Little Bit of Heart, 99 Stealing Buddha’s Dinner. See Nguyen, The Warrior’s Way, 93, 174, 178 Bich Minh Warriors of Heaven and Earth, 94 Still Alice, 125, 126, 136 War Trash, 27 Stoker, 183–185 Watanabe, Ken, 90 Sturluson, Snorri, 73 Watkins, Calvert, 70 Suvin, Darko, 144 Wharton, Edith, 133 Suzuki, D. T., 147, 175 White Fang, 6 Swan Lake, 11, 15 Wiesel, Elie, 23 Sympathy for Lady Vengeance, 167, 170 Wilson, Eric G., 48 Wolf Totem, 3–5, 10, 13, 14, 17, 21 Wolves and the Wolf Myth in American T Literature, 6 Talisman, 80 The Woman Warrior, 104, 113, 121, Tan Dun, 67 127, 130, 133 Tarantino, Quentin, 173 Wong, Sau-ling Cynthia, 104 Taste of Life, 188, 191, 194 Wu, Alice, 99 Tchaikovsky, 11, 15 Wu Cheng’en, 69 240 Index

Wu, Zhuoliu, 188–190 Loyola Chin and the San Peligran Order, 106 Prime Baby, 106 X The Rosary Comic Book, 106 Xiyouji (Journey to the West), 83 The Shadow Hero, 114–116, 122 Xun, Lu Yang, Jing, 25, 37 "The Diary of a Madman", 56 The Yellow Kid, 116–118 "The True Story of Ah Q", 9, 190 Yimou, Zhang, 25, 30, 31, 38, 57, 58, 61, 66, 94, 174, 176 Yi Yi, 199 Y Yu, Anthony C., 209, 210 Yan Geling, 25, 36 Yu, Hua, 207 Yang, Edward, 199 Yutang, Lin, 119 Yang, Gene Luen American Born Chinese, 107, 108, 120 Z Boxers and Saints, 107, 110, 118, Zeffrelli, Franco, 57 119 Zemeckis, Robert, 75 The Eternal Smile: Three Stories, Zhaoyan, Ye, 26, 29, 36 106 Ziyi, Zhang, 90 Gordon Yamamoto and the King of the Geeks, 106 Level Up, 106