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Immigrant Cinephilia: Toward a Canon...

Ho, Xuan An,

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Immigrant Cinephilia: Toward a Canon of Asian American Women's Cinema /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Immigrant Cinephilia: Toward a Canon of Asian American Women's Cinema // Xuan An Ho.
Author:	Ho, Xuan An,
Description:	1 electronic resource (192 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
Contained By:	Dissertations Abstracts International86-04A.
Subject:	Asian American studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31690532
ISBN:	9798384441519

Immigrant Cinephilia: Toward a Canon of Asian American Women's Cinema /
Ho, Xuan An,

Immigrant Cinephilia: Toward a Canon of Asian American Women's Cinema /Xuan An Ho. - 1 electronic resource (192 pages)

Source: Dissertations Abstracts International, Volume: 86-04, Section: A.

This dissertation presents the first book-length study on Asian American women's cinema. In the investigation of this cinema, I develop a theory of immigrant cinephilia, a form of spectatorship in which cinema mediates my understanding of the phenomenon of immigration and in which my immigrant positionality mediates my reading and perception of cinema. I pose several questions: How does the immigrant function as a topic in the diegesis of the film? What pattern of formal or aesthetic strategies can be detected in Asian American women's cinema? And how does cinema-as a set of representational techniques and as an archive-participate in knowledge production concerning lives on the move? Registering the reality of the massive scale of global dislocation, immigrant film seems an appropriate field in which these questions might be posed. For the purposes of this study, I focus on three directors: Chloe Zhao, Rea Tajiri, and Trinh T. Minh-ha. Embedded in these selections is the notion of eclecticism, not only in that the filmic traditions traverse diverse genres-from the Western to the home video to the essay film-but also in that the auteurs all come from different traditions. My choices purposefully play with the ambiguity of the immigrant by focusing on one director who was born in the United States, Rea Tajiri; one whose nationality is questionable, Chloe Zhao; which leaves only one who is unambiguously an Asian American immigrant, Trinh T. Minh-ha. By doing so, I allude to the shakiness, or even precariousness, of both the terms "immigrant" and "Asian American"; at the same time, I hope to emphasize immigrant cinema based on its shared principles, the unfixed positionality of the filmmaker in relation to the state, and aesthetic strategies, rather than simply limiting immigrant cinema to works made by and for immigrants. Theoretically, Asian American women's cinema as immigrant cinema derives its ultimate coherence from the strategies of representing movement that I trace.

English

ISBN: 9798384441519Subjects--Topical Terms:

2122841
Asian American studies.
Subjects--Index Terms:

Immigrant cinephilia

Immigrant Cinephilia: Toward a Canon of Asian American Women's Cinema /
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520 $a This dissertation presents the first book-length study on Asian American women's cinema. In the investigation of this cinema, I develop a theory of immigrant cinephilia, a form of spectatorship in which cinema mediates my understanding of the phenomenon of immigration and in which my immigrant positionality mediates my reading and perception of cinema. I pose several questions: How does the immigrant function as a topic in the diegesis of the film? What pattern of formal or aesthetic strategies can be detected in Asian American women's cinema? And how does cinema-as a set of representational techniques and as an archive-participate in knowledge production concerning lives on the move? Registering the reality of the massive scale of global dislocation, immigrant film seems an appropriate field in which these questions might be posed. For the purposes of this study, I focus on three directors: Chloe Zhao, Rea Tajiri, and Trinh T. Minh-ha. Embedded in these selections is the notion of eclecticism, not only in that the filmic traditions traverse diverse genres-from the Western to the home video to the essay film-but also in that the auteurs all come from different traditions. My choices purposefully play with the ambiguity of the immigrant by focusing on one director who was born in the United States, Rea Tajiri; one whose nationality is questionable, Chloe Zhao; which leaves only one who is unambiguously an Asian American immigrant, Trinh T. Minh-ha. By doing so, I allude to the shakiness, or even precariousness, of both the terms "immigrant" and "Asian American"; at the same time, I hope to emphasize immigrant cinema based on its shared principles, the unfixed positionality of the filmmaker in relation to the state, and aesthetic strategies, rather than simply limiting immigrant cinema to works made by and for immigrants. Theoretically, Asian American women's cinema as immigrant cinema derives its ultimate coherence from the strategies of representing movement that I trace.
546 $a English
590 $a School code: 0227
650 4 $a Asian American studies. $3 2122841
650 4 $a Womens studies. $3 2122688
650 4 $a Cinematography. $3 546522
653 $a Immigrant cinephilia
653 $a Asian American women's cinema
653 $a Cinema
653 $a Asian American immigrants
653 $a Aesthetic strategies
690 $a 0453
690 $a 0343
690 $a 0435
710 2 $a The University of Texas at Austin. $b English. $e degree granting institution. $3 3827727
720 1 $a Reeves, Roger $e degree supervisor.
720 1 $a Gopalan, Lalitha $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-04A.
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791 $a Ph.D.
792 $a 2024
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