From 1950s Malay superstar Maria Menado to 2023 Golden Globe winner Michelle Yeoh, Starring Asian Feminities brings together a cross-disciplinary group of scholars to explore the variations and evolutions of Asian femaleness on-screen. Exploring a range of genres and forms including Chinese "chick flicks" ("Xiaoniu Dianying"), K-Cinema, Bollywood and Asian American stardom in Hollywood, the book examines the confluence of gender and sexual identities of a range of Asian female stars and analyses what media conditions underlie the production of images of Asian femininities. Through a range of case studies of these Asian female stars, Starring Asian Femininities confronts such questions as: how do Asian female stars transcend Western notions of fame, popularity and celebrity? What positions do they take on issues such as selfhood and identity? And how do they mediate conflicting ideological claims?

Autorentext
Ian Dixon completed his PhD at The University of Melbourne, Australia, in 2011 and currently lectures at Nanyang Technological University, Singapore. Ian publishes on Bowie, celebrity studies, cultural studies and film theory and delivers academic papers internationally. He also acts and directs for film and television and writes funded screenplays and novels. Kirsty Fairclough is Professor of Screen Studies at the School of Digital Arts (SODA) at Manchester Metropolitan University, UK. She is the co-editor of The Music Documentary: Acid Rock to Electropop (2013), The Arena Concert: Music, Media and Mass Entertainment (Bloomsbury, 2016), Music/Video: Forms, Aesthetics, Media (Bloomsbury, 2017), The Legacy of Mad Men: Cultural History, Intermediality and American Television (2020), Prince and Popular Culture (Bloomsbury, 2020), and author of the forthcoming Beyoncé: Celebrity Feminism and Popular Culture (Bloomsbury). She is the curator of Sound and Vision: Pop Stars on Film and In Her View: Women Documentary Filmmakers film seasons at HOME, Manchester and Chair of Manchester Jazz Festival.Lisa Gotto is a professor of film theory at the University of Vienna, Austria. Her main research interests are in film studies, game studies, and comparative media studies. She is the co founder and co-editor of the journal Medienkomparatistik,Angelene Wong earned her PhD at the School of Art, Design and Media at Nanyang Technological University, Singapore. She is the co-author of Fashion, Identity, Image (Bloomsbury 2022).Ian Dixon completed his PhD at The University of Melbourne, Australia, in 2011 and currently lectures at Nanyang Technological University, Singapore. Ian publishes on Bowie, celebrity studies, cultural studies and film theory and delivers academic papers internationally. He also acts and directs for film and television and writes funded screenplays and novels.Kirsty Fairclough is Professor of Screen Studies at the School of Digital Arts (SODA) at Manchester Metropolitan University, UK. She is the co-editor of The Music Documentary: Acid Rock to Electropop (2013), The Arena Concert: Music, Media and Mass Entertainment (Bloomsbury, 2016), Music/Video: Forms, Aesthetics, Media (Bloomsbury, 2017), The Legacy of Mad Men: Cultural History, Intermediality and American Television (2020), Prince and Popular Culture (Bloomsbury, 2020), and author of the forthcoming Beyoncé: Celebrity Feminism and Popular Culture (Bloomsbury). She is the curator of Sound and Vision: Pop Stars on Film and In Her View: Women Documentary Filmmakers film seasons at HOME, Manchester and Chair of Manchester Jazz Festival.Lisa Gotto is a professor of film theory at the University of Vienna, Austria. Her main research interests are in film studies, game studies, and comparative media studies. She is the co founder and co-editor of the journal Medienkomparatistik,

Inhalt
Introduction

Section One: Correlations
Chapter 1: Modes of Deceptions: The Plasticity of Kyo Machiko, Kimono's Dangerous/Naive Presence in Japanese Film, (Lucile Druet, Kansai Gaidai University, Hirakata, Osaka, Japan)
Chapter 2: Heavy Shadowing: Sono Osato and the Japanese Spectre on the American Screen (Angelene Wong, Nanyang Technological University, Singapore)
Chapter 3: Tan Kheng Hua's Way: Acting Chinese/Asian/Singaporean (Nadya Wang)
Chapter 4: Chinese Femininity in Huallywood: Branding Jing Tian With Transnational Appeal (Yixuan Feng, University of Liverpool, UK)

Section 2: Transformations
Chapter 5: 'Fat Fat': Lydia Shum as the Most Lovable Hong Kong Comedienne, (Yung-Hang Bruce Lai, King's College, London, UK)
Chapter 6: Between the Male Gaze and Female Expression: Chinese comedienne Jia Ling and her film, 'Hi, Mom', (Xiao Yang, Monash University, Australia. Master's from University College, London, UK)
Chapter 7: Celebrity Contradictions and Borrowed Auras: Iza Calzado (Ian Dixon, Nanyang Technological University, Singapore)
Chapter 8: Soft Masculinity, a New Aesthetic and Gender Performance of Tom Identity in Thailand, (Charlin Nukul, Rajamangala University of Technology Thanyaburi, Thailand)

Section 3: Reconfigurations
Chapter 9: Michelle Yeoh and the Cultivation of an Oscar-Winning Screen Persona, (Andrew Hock Soon Ng, Monash University, Malaysia)
Chapter 10: From Occidental Pornstar to Oriental Mistress: The Sexual Re-Orientation of Sunny Leone in Indian Cinema, (Dr. Sony Jalarajan Raj, MacEwan University, Canada, and Mr. Adith K Suresh, MacEwan University, Canada)
Chapter 11: Zhang Ziyi as the 'New Chinese Exotic', (Deng Bingying, Nanyang Technological University,
Singapore)
Chapter 12: Sunmi as 'Heroine, Gashina, and Siren': How a Former Member of the K-Pop Group The Wonder Girls Developed 'Sunmi-Pop', (Grace Kao, Yale University, USA)

Index