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Trans Affects: Performance, Technology, and the Racialization of Femininity

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TRANS AFFECTS: PERFORMANCE, TECHNOLOGY, AND THE RACIALIZATION OF FEMININITY Ali Na A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication in the College of Arts & Sciences. Chapel Hill 2017 Approved by: Della Pollock Elizabeth Grosz Torin Monahan Karen Shimakawa Kumarini Silva © 2017 Ali Na ALL RIGHTS RESERVED ii ABSTRACT Ali Na: Trans Affects: Performance, Technology, and the Racialization of Femininity (Under the direction of Della Pollock) Recognizing performance and technology as entangled modes of bodily expression, Trans Affects: Performance, Technology, and the Racialization of Femininity examines how Western tropes of Asian and Asian American femininity continue to shape differently sexed and gendered bodies. Drawing on Asian and Asian American artists in relation to U.S. contexts, this study enacts close readings of performances of hypersexuality, drag, and the trans body as they intersect with photography, Internet culture, multimedia installations, viral videos, biomedia, and emerging technologies. Specifically, the dissertation focuses on four contemporary artists: Laurel Nakadate, Ming Wong, Luo, and Yozmit. Employing “trans” as a theoretical lens to highlight affective capacities of art, I argue that “trans affects” in these performances resist the binary choice to either reject tropes or accept them as totalizing. The set of artists I explore do not engage in direct opposition to the stereotypes or tropes forwarded by processes of racialized femininity. Instead, they operate in more diffuse modes of affirmation, destabilization, confusion, and play, pointing to the possibilities that indeterminacy might offer politics and ethics. Trans affects accounts for the temporal crossings of affect and the political resistances of trans. As such, trans affects offers modes both of reading and politics. This study employs critical cultural methodologies, historically situating iii contemporary medial performances in cultural, linguistic, and political context. Through critical race/ethnic studies, queer theory, trans studies, and feminist theory, this interdisciplinary project demonstrates how performing and media-making might counter dominant normativizing modes of representation. Where scholarship on performance and technology has tended to eschew connections amongst race, gender, and sexuality, this project advances a comparative account of transnational racialized femininity in women, men, and those who defy the gender/sex binary. Moreover, where Asian and Asian American gender and sexuality studies have tended to focus on problems of representation, this dissertation offers tactics for resistance. iv ACKNOWLEDGMENTS Della Pollock has been an extraordinary advisor, a tireless editor, and a source of continual support in school and life. I would like to express my sincere gratitude to her, for directing this dissertation and for guiding my PhD study. Thank you for serving as a model of academic integrity and perceptivity. I began aspects this project at NYU with my MA advisor Karen Shimakawa, whose scholarship brought me to the field of performance studies. Thank you for continuing this journey with me and for your critical insights and advice along the way. I would like to thank Elizabeth Grosz, with whom I have also been working since my MA. Your generosity, direction, and example have shaped my scholarly journey in the most generative and transformative ways. Kumi Silva, thank you for the conversations over the years. You have pushed me in new and different directions and led me to think seriously about the implications of my scholarly choices. Torin Monahan boldly signed on to this project without having known me during my coursework. Thank you for your knowledge, perspective, and openness. I have grown in my studies by the support and encouragement of a number of mentors in the UNC array, Duke GSF, and beyond. I feel fortunate to have worked closely with Ken Hillis and Sarah Sharma, whose influence lingers in this project. Thank you to the additional faculty whose courses have shaped the ideas in this dissertation: Rich Cante, Chris Lundberg, Rey Chow, Michael Hardt, José Esteban Muñoz, Tavia Nyong'o, Chris McGahan, Avital Ronell, Slavoj Žižek, Zahi Zalloua, Shampa Biswas, v and Nick Kontogeorgopoulos. I would also like to thank Hwansoo Kim for his enthusiasm and mentorship on Korean Buddhism as well as Tony Perucci for his support of my performance and media work. I am additionally grateful for those at UNC and Duke who were willing to discuss early constructions of this project, especially China Medel, Hồng-Ân Trương, and Thomas DeFrantz. And, to the Department of Communication faculty, thank you for everything. I would like to thank my community in the triangle, who have sustained me over the past five years. Thank you to my fellow UNC commies, especially those who sparked me to critical reflection: Mary Domenico, Evan Litwack, Bryanne Young, Shannon Wong Lerner, Jade Davis, Daniel Coleman Chavez, Lucy Burgchardt, Keiko Nishimura, Armond Towns, Kashif Powell, Maggie Franz, Elizabeth Melton, Heather Woods, and Erin Arizzi. Thank you to my extended family: Adrienne Krone, Brenna and Jimmy Keegan, Hunter Bandy, Sam Kigar, Yael Lazar, Oren Wais, Yasmine Singh, and Seth Ligo. And, to the Duke-UNC Religion and Theory Reading group, especially Sonia Hazard for ontological problems, Randy Johnson for Malabou coffee, and the UNC contingent: Kenny Richards, Shannon Schorey, and Todd Ochoa for your exchanges. Thank you to my friends near and far who have enriched me as a person: Allison Humble, Katie Rader, Anjali Vats, Lila Hemsell, Natalie Henkhaus, Ali Brown, Travis Dodge, and Jake Ginsbach. To my mother, Min Cha, thank you for your endless support. You have been my greatest source of encouragement—from listening to my papers late at night to believing in me when I didn't. Thank you also for making it possible in all the ways to write this vi dissertation. Thank you also to my sisters Gloria and Danielle, for your love and motivation, and also to my father, Bob. To my spouse, Eric, for listening to every idea that made it into this project and workshopping many that didn't, for being a patient proofreader through the endless copies, for your love and confidence, for your levity and warmth, and for the incredible effort and consideration you put into our partnership in raising our marvelous child – thank you. And, to Mayhem, our marvelous child, I love you all the loves. vii TABLE OF CONTENTS ILLUSTRATIONS INDEX................................................................................................xi INTRODUCTION: TRANS AFFECTS & THE RACIALIZATION OF FEMININITY....1 On Trans..........................................................................................................................8 Racialization and Trans.................................................................................................10 The Turn to Performance and Technology....................................................................13 Trans Affects.................................................................................................................14 Trans Affective medial performance and the racialization of femininity.....................17 Method..........................................................................................................................20 Chapter Outline............................................................................................................24 CHAPTER 1: STRANGER INTIMACIES: THE TRANSPORTATIONS OF LAUREL NAKADATE......................................................................................................................31 Mobilizing Americana: Disruptions of Mythic Masculinity.........................................36 Americana: kitsch and traditional masculinity..............................................................37 The Locomotion of Racialized Femininity....................................................................47 Performing Postmemory: Asian Americana from Pin-Ups to Picture Brides...............56 American Pin-Up Girls: feminism and the question of race.........................................63 Japanese Picture Brides: remembering and photographic performance.......................68 Preydatory Performance: from specters of the dragon lady to flipping surveillance....78 Specters of the Dragon Lady: critical reception of Nakadate.......................................79 viii Flipping Surveillance: the experience of entrapment....................................................89 CHAPTER 2: TRANSMEDIATIONS OF E-FEMINACY: REGURGITATIONS OF TRANSNATIONAL DRAG BETWEEN BOYRS AND MEN......................................107 Transmediations of Transnational Drag......................................................................115 Queerly Transmedial: Wong's “Life of Imitation”......................................................119 Queer? Ku'er?: Luo and Taiwanese Subculture..........................................................128 Transmediation from Algorithmic Culture to Cultural Digestion...............................136 Expelling Femininity: Luo's Transmediation on American Humor Websites.............141 Consuming Cantonese: Transmediating Whiteness in Wong's “In Love for the Mood”.........................................................................................................................153
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