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UNIVERSITY of CALIFORNIA Los Angeles Trans/National Chinese Bodies Performing Sex, Health, and Beauty in Cinema and Media a Diss UNIVERSITY OF CALIFORNIA Los Angeles Trans/national Chinese Bodies Performing Sex, Health, and Beauty in Cinema and Media A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Mila Zuo 2015 © Copyright by Mila Zuo 2015 ABSTRACT OF THE DISSERTATION Trans/national Chinese Bodies Performing Sex, Health, and Beauty in Cinema and Media by Mila Zuo Doctor of Philosophy in Film and Television University of California, Los Angeles, 2015 Professor Kathleen A. McHugh, Chair This dissertation explores the connections between Chinese body cultures and transnational screen cultures by tracing the Chinese body through representation in contemporary cinema and media in the post-Mao era. Images of Chinese bodies participate in the audio-visual manufacture of desire and pleasure, and ideas of “Chinese- ness” endure through repetitive, mediated performance. This dissertation examines how representations of sex, health, and beauty are mediated by social, cultural, and political belief systems, and how cine/televisual depictions of the body also, in turn, mediate gender, cultural, racial and ethnic identifications within and across national boundaries. The bodily practices and behaviors in the quotidian arenas of sex, health, and beauty reflect the internalization of culture and the politics of identity construction. This dissertation is interested in how the pleasures of cinema relate to the politics of the body, ii and how the pleasures of the body relate to the politics of cinema. Trans/national Chinese Bodies focuses in particular on images of the Chinese female body that participate in worldly constructions of “Chinese-ness.” Each chapter is a situational exploration of a facet of Chinese embodiment in contemporary cinema and media: the erotics and affects of cinematic war bodies, the hygienic body in compassionate melodrama, the touching politics of China’s first HIV/AIDS film, the politics of beauty in regards to post-Mao Chinese female film stars, and the exotic/erotic-ization of Chinese American actresses. By framing the performer as the central author in film and television, this project suggests an alternate hermeneutics to understanding the accented Chinese body as cine/televisual phenomenon. Anchored by discussions of affective, sensorial, and phenomenological spectatorship, this project explores the Chinese body as a fictive text that powerfully elicits feelings of cultural belonging. This study mobilizes the concept of carnal spectatorship in an attempt to answer the question: How do Chinese audiences make sense and senses of their own histories and identities through their imaginative, bodily contact with onscreen Chinese bodies? As Trans/national Chinese Bodies Performing Sex, Health, and Beauty in Cinema and Media illustrates, China and Chinese- ness are themselves performances inextricable from bodily systems of desire, pleasure, and well-being. As a construction of film and media, the Chinese body enables access to a diversity of erotics and pleasures that elucidate Chinese-ness as an affective condition of being-in-the-world. iii The dissertation of Mila Zuo is approved. Sue-Ellen Case Chon Noriega Jasmine Nadua Trice Michael Berry John T. Caldwell Kathleen A. McHugh, Committee Chair University of California, Los Angeles 2015 iv For Mom, Dad, and Dougal, whose love and support give me strength In memory of Zhu Jianqiu, Cao Huaiwei, and Zuo Yingpu v TABLE OF CONTENTS Notes on Romanization 1 Introduction: Trans/national Chinese Bodies Performing Sex, Health, and Beauty 2 Bibliography 37 SEX Chapter One Lust, Caution, and Shame: The Erotics and Affects of Cinematic War 41 Bibliography 114 HEALTH Chapter Two Uncivilized Displays: Hygienic Bodies and Suzhi 119 Bibliography 153 Chapter Three Bodies, Blood, and Love: The “Touching” Politics of HIV/AIDS Media 155 Bibliography 207 BEAUTY Chapter Four Chinese Star Bodies and a Trans/national Politics of Beauty 211 Bibliography 258 Chapter Five Chinese American Actresses and the Un-common Senses of Beauty 262 Bibliography 340 Conclusion: Acting Chinese 344 Bibliography 353 Filmography 354 vi ACKNOWLEDGEMENTS It is not customary within these pages to acknowledge what it is like to work on a PhD degree. The affective labor and performance anxiety that goes into a dissertation are unseen. The solitary, sometimes melancholy, nature of thought production and writing are invisible. Even the joys and thrills of coming upon a great idea, and then sharing it with others, are hidden. It is not customary to recognize here the structures of feeling in academia, because we all know them intimately. We also realize that the rewards of academic work are immense. My gratitude of the people who supported me during this process can only be appreciated within this context of highs and lows. They helped lift me up when I most needed it. I am very grateful to have been financially supported in my graduate career by the Cota-Robles Fellowship, Edna and Yu-shan Han Endowed Fellowship, UCLA Dissertation Year Fellowship, Joel Siegel Fellowship, UCLA Fellowship support, and the Harold Leonard Fellowship. Without the support of the Teshome Gabriel Memorial Award and the UCLA School of Theater, Film, and Television Executive Board Award, I would not have been able to conduct field research in China. Thank you to the trustees and donors of all of the awards I was fortunate to receive. I am especially appreciative of our forward-thinking Dean, Teri Schwartz, who not only supported me but also advocated for our student organization, Elevate, dedicated to celebrating multiculturalism in film, theater, and television. The completion of this dissertation would not be possible without my committee. I am deeply grateful to a true champion of her students, my dissertation chair Kathleen McHugh, who always encouraged and inspired me to push my ideas further into the vii unknown. She helped me locate and express my critical voice, and I will always be humbled by her incredible intellect and thoughtfulness. John Caldwell always shared his brilliant observations, singular kindness, and generosity of spirit with me. Jasmine Nadua Trice has given invaluable and immeasurable encouragement and feedback on my work. Chon Noriega’s unique insight, levity, and wit have and continue to be an inspiration. Michael Berry’s work is essential for Chinese film scholars and his influence shows in my own research. Sue-Ellen Case is an intellectual force who has shared great ideas with me, and Nick Browne gave me helpful tips and suggestions. Other scholars and colleagues who have impacted and influenced my life and work include Vivian Sobchack, for whose humanity and work I hold deepest admiration. She is an inspirational role model in every sense. I am appreciative of Greg Cohen, one of the most benevolent and decent individuals I’ve met on this path, for his recommendation and advice. Renee Tajima-Peña generously met with me to discuss academic and creative goals, giving me a much-needed dose of optimism at the time. Linda Williams, Marilyn Fabe, and Chris Berry introduced me to the world of film studies and inspired me to study cinema in the first place. I was fortunate to have known the late Teshome Gabriel and his incomparable gentleness and good will. Several Asian film scholars and colleagues who continually energize and inspire me include Brian Hu, Sean Metzger, Jason Coe, Valerie Soe, Feng-Mei Heberer, Kevin Lim, Vincent Pham, Mike Dillon, Ken Provencher, Brian Bernards, Ada Tseng, Aynne Kokas, and my good friend and collaborator in China, Li Li. I am glad to have met Gina Marchetti and Yiman Wang, two scholars whose work with Chinese women and women’s cinemas are invaluable. I am viii indebted to the individuals who allowed me to interview them for this project: Chen Xiaoyun, Marilyn Tokuda, Zhang Jianyong, Sarah Munroe, and Han Yue. I credit much of my emotional health throughout this journey to my friends and cohort. Samantha Sheppard, you’re a bright light in the darkness and one of the strongest people I’ve ever known. You and Allen have been so supportive, and you’ll always have a good friend in me. Ben Sher, your great intelligence and knowledge of film are matched only by your outstanding charm and humor. I am so proud of what we’ve gone through together. There’s no one else I would rather go through this process than with you two, Dennis Lo, Phil Wagner, and Bryan Hartzheim. I’ll always cherish fond memories of our cohort. Chera Kee met with me at a critical time and gave me great professional advice, and Diana King kindly assisted me with my bibliography. A special thanks to the accomplished and generous Ross Melnick, who is the best unofficial mentor a graduate student could ask for. I would also like to thank other talented individuals who helped make this experience unforgettable: Allyson Field, Denise Mann, Steve Ricci, Stephen Mamber, Janet Bergstrom, Bill McDonald, Mark Quigley, Zareh Arevshatian, Steven Foley, Melissa Melpignano, Amanda Rossie, Michelle Ton, Jaimie Baron, Jonathan Cohn, Dawn Fratini, Jen Moorman, Maya Smukler, Jennifer Porst, Lindsay Giggey, Julia Wright, Morgan Woolsey, Brenda Johnson-Grau, Kimberlee Granholm, Pamela Crespin, Thomas Harrison, Jason Gendler, Ben Sampson, Drew Morton, David O’Grady, Alice Royer, Daniel Steinhardt, Karrmen Crey, Bess Matassa, Brian Clark, Cheri Smith, James Rhys Edwards, and Heather Collette-VanDeraa. I am so lucky to know the warmth and affection of my extended transnational family in the U.S. and in China, and secondary family members like Sara Graham, Julie ix von Wettberg and Jonathan Henken, Elissa Henken, Mariamne Whatley, and Eric von Wettberg. Finally, for those souls who know me best. Dougal Henken, thank you for being you. There’s no one else I’d rather be by my side through all this. And last but not least, thank you to my mom and dad, Yumei Wu and Yingxue Zuo, who lived through a Revolution and carried me here with inexhaustible love, hope, and dreams.
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