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The Warrior Women of Transnational Cinema: Gender and Race in Hollywood and Hong Kong Action Movies

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The Warrior Women of Transnational Cinema: Gender and Race in Hollywood and Hong Kong Action Movies Wilfrid Laurier University Scholars Commons @ Laurier Theses and Dissertations (Comprehensive) 2010 The Warrior Women of Transnational Cinema: Gender and Race in Hollywood and Hong Kong Action Movies Lisa Funnell Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/etd Part of the Film and Media Studies Commons, Race, Ethnicity and Post-Colonial Studies Commons, and the Women's Studies Commons Recommended Citation Funnell, Lisa, "The Warrior Women of Transnational Cinema: Gender and Race in Hollywood and Hong Kong Action Movies" (2010). Theses and Dissertations (Comprehensive). 1091. https://scholars.wlu.ca/etd/1091 This Dissertation is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Theses and Dissertations (Comprehensive) by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-64398-3 Our file Notre r§f6rence ISBN: 978-0-494-64398-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'Internet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. ••I Canada THE WARRIOR WOMEN OF TRANSNATIONAL CINEMA GENDER AND RACE IN HOLLYWOOD AND HONG KONG ACTION FILMS By Lisa Funnell B.A. (Hons.) in Arts and Science, McMaster University, 2003 Master of Arts in Popular Culture, Brock University, 2005 PH.D. DISSERTATION Submitted to the Department of English and Film in partial fulfillment of the requirements for Doctor of Philosophy in Literary/Theater Studies in English Wilfrid Laurier University ©2010 ABSTRACT In The Warrior Women of Transnational Cinema, I consider the significance of transnational Asian action women in the post-1997 Hong Kong cinema; more specifically, I explore how Pan-Asian (e.g. Michelle Yeoh, Pei Pei Cheng, Ziyi Zhang), Asian American (Lucy Liu, Maggie Q, Marsha Yuen), and Asian Canadian (e.g. Francoise Yip, Charlene Choi, Kristy Yang) warrior women function as a source of transnational female identity for local, Pan-Asian (i.e. East and Southeast Asian), and diasporic Asian audiences. I argue that the post-1997 Hong Kong cinema—and not Hollywood—has offered space for the development of Pan-Asian and Asian North American screen identities which challenge the racial stereotypes historically associated with the Asian female body in the West. In the new millennium, Hollywood has redefined its representation of transnational Asian action women by incorporating Hong Kong choreographers, action aesthetics, and/or female stars into its blockbusters. In these films, however, the representation of Pan-Asian and Asian North American action women caters to the tastes of American/Western audiences and relates American/Western ideals of gender, race, and heroism. Furthermore, I argue that Hollywood's recent investment in Hong Kong and/or Mainland Chinese co-productions reflects America's attempt to tap into the burgeoning Asian film market and wield significant political, economic, and social power particularly in Mainland China. n ACKNOWLEDGEMENTS This study is dedicated to my family. Thank you for your unending love, patience, and support. I would also like thank Dr. Philippa Gates and Dr. Katherine Spring for your guidance and encouragement throughout this process. in TABLE OF CONTENTS LIST OF ILLUSTRATIONS vii INTRODUCTION TO WARRIOR WOMEN 1 Critical Discourse 2 Racial Stereotyping in Hollywood 11 Matters of Terminology / Terminology Matters 15 The Warrior Women of Transnational Cinema 19 CHAPTER 1: HONG KONG-HOLLYWOOD GLOBAL CONNECTIONS 25 Parti: Industrial Collaborations and Divergences 25 Industrial Differences 35 Part II: Heroic Identities in Hong Kong Cinema 38 Post-1997 41 Masculinity and Identity in Hong Kong Action 45 Warrior Women in Hong Kong Cinema 51 CHAPTER 2: TRANSNATIONAL ASIAN MOTHERS The Heroic Identities of Michelle Yeoh and Pei Pei Cheng 57 Part I: Generation 1 - Pei Pei Cheng 58 Queen of Swordplay 58 Maternal Master 62 Part II: Generation 2 - Michelle Yeoh 65 Yeoh's Rising Star 65 Yeoh's Transnational Appeal 73 The Global Face of Hong Kong 77 Part III: Transnational Mothers 82 Yeoh as Self-Sacrificing Asian Mother 82 Cheng as Transnational Maternal Master 88 CHAPTER 3: INTERMEDIAL STARS Hong Kong Action Women in Post-1997 Cinema 92 Part I: Hong Kong Industry Crisis 93 From Decline to Crisis 93 Internationalization of the Industry 97 Rise of Male Cantopop Stars 100 Part II: Case Study-Qi Shu 103 Rising Star of Post-1997 103 The Threat to Cantonese Language Cinema 106 Dragon Hidden 109 Girls with Guns Revival Ill Continuing Importance of Male Cantopop 116 IV CHAPTER 4: CHINESE WOMEN AND THE TROPES OF MODERN CHINA The Transnational Appeal of Li Gong and Ziyi Zhang 118 Part I: Li Gong and Mainland Chinese Cinema 119 Propaganda vs. Profit 119 The Face of New China 124 Participating in Hong Kong Action 127 American Image 131 Part II: Commercialization of Mainland Cinema in the 2000s & Ziyi Zhang ..135 Crouching Tiger 138 Western Reception and Zhang's Hollywood Phase 140 The Mainland Tradition of Warrior Women 142 Under a Media Microscope 146 CHAPTER 5: PAN-PACIFIC CONNECTIONS Asian American Action Women in Post-1997 Hong Kong 148 Part I: "Which Way is Global?" 148 Media Asia's Shifting Production Ideology 152 Part II: Pan-Pacific Connections 156 The First Wave: Asian American Women, 1930s-50s 156 The Second Wave: The Bruce Lee Model, the 1970s 159 Part III: The Third Wave - Maggie Q 163 Naked Weapon and the Subversion of Stereotypes 166 Transnational Success at a Cost 169 Return to the Chinese Cinema 171 Part IV: The Yuen Sisters and Cinematic Destiny 174 Hong Kong Family Trees 175 Transnational Asian American Action Women 183 CHAPTER 6: TRANSNATIONAL INTEGRATION Asian Canadian Action Women in Post-1997 Hong Kong 185 Part I: Hong Kong-Canada Connections 186 Part II: Asian Canadian Precursors 190 Francoise Yip 190 Christy Chung 193 Part III: Ge-Ying-Shi (music—film—tv) 197 Television and the New Wave (1979-1984) 198 Miss Hong Kong Pageant 200 Kristy Yang 204 Monica Lo 211 Bernice Liu 213 Part IV: Asian Canadian Cantopop Stars 215 Charlene Choi and the Twins Films 215 Stepping Out Alone 220 Edison Chen Photo Scandal 223 Breaking the Trend 227 Western Expressions of Hong Kong Identity 231 v CHAPTER 7: THE HONG KONGIFICATION OF HOLLYWOOD Assimilating Hong Kong Style for the Hollywood Action Woman 233 Part I: White Female Heroism in Hollywood 235 Phase 1: Masculine/Muscular in the 1980s 235 Interim Phase: Masculine/Muscular and Hyperfeminine 238 Phase 2: O'Day's Action Babe Cinema 240 Part II: Hollywood's "Assimilation" of Hong Kong Style ...241 The Parodic Angels 245 The Trinity Warrior .....250 Successful Assimilation? 255 Part III: Hollywood's Asian American Action Women 258 Racial Stereotyping in Hollywood Action 258 Anticipating Change: Liu's Early Work in Hollywood 261 Model Minority: Charlie's Angels 268 Kill Bill Volume 1 271 Expanding Structural Limitations 274 The Changing Landscape 275 CONCLUSION: THE HOLLYWOODIZATION AND HONG KONGIFICATION OF ASIAN ACTION WOMEN 278 Hollywoodization vs. Hong Kongification 278 Pan-Asian Action Women 280 Asian American Action Women 282 Asian Canadian Action Women 283 ENDNOTES 287 APPENDIX 319 BIBLIOGRAPHY 331 FILMOGRAPHY 354 vi LIST OF ILLUSTRATIONS Figure 1: Pei Pei Cheng in Come Drink With Me (1966) 319 Figure 2: Michelle Yeoh and Cynthia Rothrock in Yes, Madam (1985) 319 Figure 3: Michelle Yeoh in Police Story 3 (1992) 319 Figure 4: Michelle Yeoh and Pei Pei Cheng in Wing Chun (1994) 320 Figure 5: Michelle Yeoh in Crouching Tiger (2000) 320 Figure 6: Michelle Yeoh and Melanie Thierry in Babylon A.D. (2008) 320 Figure 7: Qi Shu in Sex and Zen II (1996) 321 Figure 8: Cover Art for Another Meltdown (1998) 321 Figure 9: Qi Shu in Gorgeous (1999) 321 Figure 10: Qi Shu in So Close (2002) 322 Figure 11: Li Gong in Ju Dou (1989) 322 Figure 12: Li Gong in Dragon Chronicles: Maidens of Heavenly Mountain (1994) 322 Figure 13: Collin Farrell and Li Gong in Miami Vice (2006) 323 Figure 14: Ziyi Zhang in Crouching Tiger (2000) 323 Figure 15: Ziyi Zhang in Rush Hour 2 (2001) 323 Figure 16: Ziyi Zhang and Takeshi Kaneshiro in House of Flying Daggers (2004) 324 Figure 17: Maggie Q as the Face of UV White 324 Figure 18: Maggie Q and Anya in Naked Weapon (2002) 324 Figure 19: Ming Na in Street Fighter (1994) and Maggie Q in Balls of Fury (2007)...
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