By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly participants operating in Asian American reports, English, anthropology, sociology, and artwork background. they think about problems with cultural authenticity raised by way of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. adolescence tradition, and the move of Vietnamese track sort exhibits. They learn the connection among chinese language eating places and American tradition, problems with sexuality and race dropped at the fore within the video functionality paintings of a Bruce Lee–channeling drag king, and immigrant tv audience’ dismayed reactions to a chinese language American chef who's “not chinese language enough.” The essays in Alien Encounters reveal the significance of scholarly engagement with pop culture. Taking pop culture heavily unearths how humans think and exhibit their affective relationships to background, id, and belonging.
Contributors. Wendy Hui Kyong Chun, Kevin Fellezs, Vernadette Vicuña Gonzalez, Joan Kee, Nhi T. Lieu, Sunaina Maira, Martin F. Manalansan IV, Mimi Thi Nguyen, Robyn Magalit Rodriguez, Sukhdev Sandhu, Christopher A. Shinn, Indigo Som, Thuy Linh Nguyen Tu, Oliver Wang
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Additional info for Alien Encounters: Popular Culture in Asian America
It’s about rebellion. ’’∂∂ In 1995, Yellow Peril released its own sampler tape with a song called ‘‘Asian for the Man,’’ which critiqued Asian stereotypes in the mass media. ∂∑ Like Fists of Fury’s ‘‘After School,’’ ‘‘Asian for the Man’’ is a dual critique. Yellow Peril attacked the ‘‘racist ideology’’ of American society and media, but it also took Asian American actors to task for accepting roles that the group deemed demeaning to the image of Asian American men. In e√ect, Yellow Peril was dialoguing with the larger American society but also calling on members of the Asian American community to take responsibility for their potentially detrimental actions.
In an adaptation of W. E. B. Du Bois’s famous perspective on African American culture, this was music made for, by, and about Asian Americans. While all of these groups also expressed the desire to reach audiences beyond Asian Americans,∂∏ their foremost commitment was to consciously write songs that dealt with Asian American social issues they deemed important, whether that meant racism in the media, anti-Asian violence, or interracial dating. These examples show how Asian American rap groups of the early 1990s 44 Wang took a deliberate stand to make their racial identity the foremost part of their image and artistic message.
Han with Morohoshi, ‘‘Creating, Curating, and Consuming Queer Asian American Cinema,’’ 87. Grewal, ‘‘Traveling Barbie,’’ 801. For a fascinating look at the changing uses of culture, see Yudice, The Expediency of Culture. Many scholars have noted these contradictions. See Sau-ling Cynthia Wong’s cautions in ‘‘Denationalization Reconsidered,’’ 1–27. See also Chuh, Imagine Otherwise; Chuh and Shimakawa, Orientations; and Dirlik, What Is in a Rim? Feng, ‘‘Recuperating Suzie Wong,’’ 47. Foucault, The History of Sexuality, 1:103.
Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen