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Constructing a New Asian Masculinity: Reading Lilting Against CONSTRUCTING A NEW ASIAN MASCULINITY: READING LILTING AGAINST OTHER FILMS BY ASIAN FILMMAKERS by FENG CHENG A THESIS Presented to Interdisciplinary Studies Program: Asian Studies and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Feng Cheng Title: Constructing a New Asian Masculinity: Reading Lilting against Other Films by Asian Filmmakers This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in Interdisciplinary Studies Program: Asian Studies by: Roy B. Chan Chairperson Daniel Buck Member Luke Habberstad Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Feng Cheng iii THESIS ABSTRACT Feng Cheng Master of Arts Interdisciplinary Studies Program: Asian Studies June 2016 Title: Constructing a New Asian Masculinity: Reading Lilting against Other Films by Asian Filmmakers In western media, Asian men have traditionally represented as either effeminized or emasculated. First providing a historical and ideological account for such representations, this thesis proceeds to analyze the advantages and disadvantages of the three strategies that Asian filmmakers have adopted to counter this stereotype: the assimilationistic strategy, the segregationistic strategy and the integrationistic strategy. Eventually, this thesis proposes a new way to cope with dilemma by providing a close reading of a British independent film, Lilting. It argues that a fourth strategy, which is named the dynamic strategy, can be detected. Because in this film masculinity is presented as a fluid quality that flows through different characters and does not attach to race or any other fixed identity, there is no need to struggle against the demands imposed by the white hegemony. iv CURRICULUM VITAE NAME OF AUTHOR: Feng Cheng GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Bayreuth, Bayreuth Shanghai International Studies University, Shanghai Anhui University of Technology, Ma’anshan DEGREES AWARDED: Master of Arts, Asian Studies, 2016, University of Oregon Master of Arts, Intercultural Anglophone Studies, 2013, University of Bayreuth Master of Arts, Intercultural Communication, 2013, Shanghai International Studies University Bachelor of Arts, English Language and Literature, 2009, Anhui University of Technology AREAS OF SPECIAL INTEREST: Gender and sexuality studies Shakespearean studies PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2014-2016 Translator/Language Instructor, Guandong Consultancy, 2010-2013 GRANTS, AWARDS, AND HONORS: Promising Scholar Award, University of Oregon, 2016 Graduate Teaching Fellowship, University of Oregon, 2016 v PUBLICATIONS: Cheng, Feng. “‘Let’s kill all the lawyers’: Legal illegalities in The Merchant of Venice”. Interdisciplinary Perspectives on Public Affairs & Qualitative Research. 5.1 (2014): 39-55. Print. vi ACKNOWLEDGMENTS I would wish to express my special thanks to Prof. Dr. Roy B. Chan. Not only has he offered many wonderful suggestions during my thesis writing, he has also shown a rare tolerance for my disorganization, tardiness and forgetfulness. I would also like to thank my two other committee members, Prof. Dr. Daniel Buck and Prof. Dr. Luke Habberstad. They have also provided me with a lot of support and help, without which I could not have completed this project. Lastly, I would like to thank Prof. Dr. Bryna Goodman and Prof. Dr. Tuong Vu for their excellent leadership in the program of Asian Studies. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 II. ASIAN MEN AS SEEN IN THE WEST ................................................................ 4 III. CHINESE MASCULINITY IN CHINESE CINEMA .......................................... 15 Drunken Master I+II ............................................................................................. 16 The Killer ............................................................................................................... 19 Hero ....................................................................................................................... 22 IV. THREE MAJOR STRATEGIES ........................................................................... 25 Reaching a Racial Identity ..................................................................................... 25 Three Major Strategies ........................................................................................... 28 The Assimilationistic Strategy ......................................................................... 29 The Segregationistic Strategy .......................................................................... 33 The Integrationistic Strategy ............................................................................ 37 V. NEOGOTIATING WITH THE INDUSTRY ......................................................... 42 Better Luck Tomorrow ..................................................................................... 46 VI. CLOSE READING OF LILTING .......................................................................... 53 VII. CONCLUSION .................................................................................................... 70 REFERENCES CITED ................................................................................................ 72 viii LIST OF FIGURES Figure Page 1. You just got bombed. Peggy Sirota. GQ Style. 2011 ............................................. 5 2. The Joy Luck Club. Dir. Wayne Wong. 1993. ....................................................... 13 3. Asian Persuasion. Dir. Josh Eliot. 1997 ................................................................ 31 4. Forever Bottom! Dir. Hoang Tan Nguyen. 1999 ................................................... 38 5. Better Luck Tomorrow. Dir. Justin Lin. 2002 ........................................................ 47 6. Lilting. Dir. Hong Khaou. 2014 ............................................................................. 62 ix CHAPTER I INTRODUCTION Asian women have traditionally received a lot of academic attention in gender studies, and their femininity has been extensively studied. Scholars such as Ray Kathryn, Pratibha Parmar, Celine Parreñas Shimizu and Shoba Sharad Rajgopal have written profusely on how Asian women are represented in the Western media, and they have invariably laid an emphasis on sexuality. In her book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, Shimizu contends that “Asian/American women are tied to a tradition of excessive and perverse hypersexuality in representation…[they] cannot but live through their racial sexualization” (15, 17). Parmar suggests “Asian women’s femininity is very often linked to notions of fertility” (290), and Kent A. Ono and Vincent Pham mention that “the reigning stereotypes for women related to the virgin and whore dialectic have been the Lotus Blossom and Madame Butterfly, on the one hand, and the Dragon Lady, on the other” (66). According to Ono and Pham, Asian women are either depicted as demure, passive and supplicant, or conniving and sexually manipulative; in either sense, they are defined by their sexuality. When discussing Asian women’s stereotypes “as submissive and dainty sex objects,” Yen Le Espiritu indicates that they are depicted as sexually available, so that they can “become yet another possession of the white man” (94-95). However, Asian men find themselves in an almost opposite situation. On the one hand, in the academia they receive much less critical attention Asian women. On the other hand, in real life their representation is consistently characterized by a lack of sexuality. While Asian women are seen as hypersexual, Asian men are perceived as asexual, emasculated or feminized. This representation was ubiquitous in the media in last century, and still lingers on even today. For instance, at the beginning Parks and Recreation (2009-2015), an NBC sitcom, the Indian character Tom Haverford is surprisingly married to a beautiful white woman, Wendy. However, as the show progresses, the audiences discover that Wendy is Canadian and she and Tom are good friends in college; as a favor, Tom marries her, so that she could secure a green card. Wendy ruthlessly rejects Tom, when he starts to develop genuine feelings for her after their divorce. In recent decades, the dilemma that Asian men face has been noticed by more and more scholars. These scholars, such as Richard Fung and Tan Hoang Nguyen, both of whom will be extensively discussed in this thesis, have vehemently protested against this representation of Asian men. Many Asian filmmakers have also produced various films, both independent and mainstream, in order to counter the stereotypes. In the following, I will discuss some of these films in detail and describe the strategies that the filmmakers have adopted in order to remasculate Asian men. I will mainly focus on films that are pornographic in content, in that the relationship between sexuality and power is most visibly represented in such films. I will also pay a close attention to films that address homosexuality, because in the popular imagination emasculation is often translated into effeminization and Asian
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