他者的再現(xiàn)：質(zhì)疑好萊塢電影中的華人形象（1980~1999）

Chapter 1 Chineseness, Hollywood Discourse and Cinematic Apparatus
1.1 The Stereotype and the Hollywood Discourse
1.2 Methodology
1.3 Structure
1.4 Selection
Chapter 2 Literature Review
2.1 Postcolonialism
2.2 Orientalism
2.3 Culture & Imperialism
2.4 Feminism
2.5 Representation
2.6 Cine-semiology
Chapter 3 The Myth of Violence and the Other"Chinaman"
3.1 Visual Spectacle and the Violent" Oriental"
3.2 The" Deadly Ballet" and that Legendary Bruce Lee
3.3 Comedy Kung Fu and Comical Jaekie Chan
3.4 Monsters, Aliens, and Trauma on the Transnational Scene
3.4.1 Contrasting and Foiling the White Hero
3.4.2 Killing Innocent People with Excellent Kung Fu
3.4.3 The Ethical & Remediable Killer
Chapter 4 Irresistible Seduction and Inscrutable "China Lady"
4.1 A Matter of Marginality and "White Supremacist Capitalist Patriarchy"
4.2 The "Unbearably Cute but Silly" China Doll
4.3 The Externally Arrogant but Internally Fragile "Connie Chueng"
4.4 The Anti-Orientalist Transvestite" Seductive Spy"
Chapter 5 The Other Speaks: Wayne Wang's Films in Hollywood Cinema
5.1 Chan Is Missing or Chinese Missing
5.2 Re-Defining Cultural Identity in Dim Sum: A Little Bit of Heart
5.3 Decoding Cultural Connotations in The Joy Luck Club
5.4 Conclusion : "Articulating a Voice of Our Own"
Chapter 6 Conclusion:"Can One Know the Other?"
Appendix 1 Films with Chinese Male Characters( 1960 ~ 1999)
Appendix 2 Films with Chinese Female Characters( 1960 ~ 1999 )
Appendix 3 Important Films about Chineseness( 1960 ~ 1999)
Appendix 4 Movies Relevant to Bruce Lee( 1960 ~ 1999 )
Appendix 5 Minor Roles of Chinese in Hollywood Films( 1960 ~ 1999)
References