The Chinese Diaspora on American Screens: Race, Sex, and Cinema

Acknowledgments

Acknowledgments I would particularly like to thank my editor, micah Kleit, for his support of this project and commitment to research on Asian American cinema. Given that studies of the Asian diaspora on American screens are just emerging, it is a tribute to micah’s vision that he is willing to develop this area for temple university press. i am very grateful for the support of my colleagues at the university of Hong Kong, particularly esther Cheung, esther yau, mirana szeto, Fiona law, sebastian veg, nancy tong, and staci Ford. it is always inspiring to be around such lively intellects. it is stimulating, too, to be surrounded by wonderful students such as Amy lee, lin yiping, Jason Ho, Derek lam, sebastian yim, vivian Au, Xavier tam, ma ran, and mercedes vázquez. Frances Gateward, Amy villarejo, song Hwee lim, Julian Ward, Daniel Bernardi, Darrell y. Hamamoto, Helen lee, Chris Holmlund, and murray pomerance all provided valuable assistance at various points. special thanks go to Fanny Chan, natalie siu lam Wong, and lin yiping for their invaluable help putting this book together. i could never have finished this book without the loving kindness of my husband, Cao Dongqing, and son, luca Cao. A portion of the research for this book came from the seed Funding program for Basic research, university of Hong Kong. i am very grateful to leon Hunt of Brunel university for chatting with me about the reception of Rush Hour 3 in england. i am also thankful for the help of my editors at Hong Kong Cinemagic, thomas podvin and David vivier, for their thoughts on Jackie Chan in diaspora. Other support came from GrF incentive Awards 2009–10 and 2010–11, university research Committee, university of Hong Kong. xii Acknowledgments A few passages of Chapter 1 were originally published in Gina marchetti, “Cinemas of the Chinese Diaspora,” in The Chinese Cinema Book, edited by song Hwee lim and Julian Ward, 26–34 (london: British Film institute/ palgrave macmillan, 2011). portions of Chapter 2 were originally published in Gina marchetti, “Jackie Chan and the Black Connection,” in Keyframes: Popular Cinema and Cultural Studies, edited by matthew tinkcom and Amy villarejo, 137–158 (london: routledge, 2001). Chapter 3 was originally published in Gina marchetti, “Romeo Must Die: interracial romance in Action,” in The Persistence of Whiteness: Race and Contemporary Hollywood Cinema, edited by Daniel Bernardi, 253–266 (london: routledge, 2007). some portions of Chapter 5 were originally published in Gina marchetti, “The Wedding Banquet: Global Chinese Cinema and the Asian American experience,” in Countervisions: Asian American Film Criticism, edited by Darrell y. Hamamoto and sandra liu, 275–297 (philadelphia: temple university press, 2000); and Gina marchetti, “still looking: negotiating race, sex, and History in Dirty Laundry,” in Like Mangoes in July: The Work of Richard Fung, edited by Helen lee and Kerri sakamoto, 80–89 (toronto: insomniac/ images Festival, 2002). some material in Chapter 6 was previously published in Gina marchetti, “Guests at The Wedding Banquet: the Cinema of the Chinese Diaspora and the rise of the American independents,” in Contemporary American Independent Film: From the Margins to the Mainstream, edited by Chris Holmlund and Justin Wyatt, 211–225 (london: routledge, 2005). Chapter 7 was originally published in Gina marchetti, “pursuits of Hapaness : Kip Fulbeck’s Boyhood among Ghosts,” in Where the Boys Are: Cinemas of Masculinity and Youth, edited by murray pomerance and Frances Gateward, 279–296 (Detroit: Wayne state university press, 2005). The Chinese Diaspora on American Screens ...