Abstract

This article proposes that Ang Lee's Chinese-language martial arts film, Crouching Tiger, Hidden Dragon, be seen as a work of diasporic cinema. The essay explores how the film's material production and its aesthetic form have been shaped by Lee's ties to his Chinese homeland, to other members of the Chinese diaspora, and to the Hollywood films of his American hostland.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 18-42
Launched on MUSE
2004-08-26
Open Access
No
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