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| Editor's Introduction | |
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| Acknowledgments | |
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| Modernity and Postcolonial Ethnicity | |
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| The Age of the World Target: Atomic Bombs, Alterity, Area Studies | |
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| Seeing Is Destroying | |
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| The World Becomes Virtual | |
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| The Orbit of Self and Other | |
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| From Atomic Bombs to Area Studies | |
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| The Postcolonial Difference: Lessons in Cultural Legitimation | |
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| From Writing Diaspora: Introduction: Leading Questions | |
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| Orientalism and East Asia: The Persistence of a Scholarly Tradition | |
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| Sanctifying the �Subaltern�: The Productivity of White Guilt | |
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| Tactics of Intervention | |
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| The Chinese Lessen | |
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| Brushes with the-Other-as-Face: Stereotyping and Cross-Ethnic Representation | |
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| The Inevitability of Stereotypes in Cross-Ethnic Representation | |
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| The Politics of Admittance: Female Sexual Agency, Miscegenation, and the Formation of Community in Frantz Fanon | |
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| Race and the Problem of Admittance | |
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| Community Formation and Sexual Difference: A Double Theoretical Discourse | |
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| What Does the Woman of Color Want? | |
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| The Force of Miscegenation | |
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| Community Building Among Theorists of Postcoloniality | |
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| When Whiteness Feminizes: Some Consequences of a Supplementary Logic | |
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| Is �Woman� a Woman, a Man, or What? The Unstable Status of Woman if Contemporary Cultural Criticism | |
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| Filmic Visuality and Transcultural Politics | |
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| Film and Cultural Identity | |
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| Seeing Modern China: Toward a Theory of Ethnic Spectatorship | |
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| The Dream of a Butterfly | |
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| �East Is East and West Is West, and Ne'er the Twain Shall Meet� | |
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| �The Beauty…of Her Death. It's a…Pure Sacrifice� | |
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| The Force of Butterfly; or, the �Oriental Woman� as Phallus | |
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| �Under the Robes. Beneath Everything, It Was Always Me� | |
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| �It's Not the Story; Its the Music� | |
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| Madame Butterfly, C'est Moi | |
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| Coda: New Questions for Cultural Difference and Identity | |
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| Film as Ethnography; or, Translation Between Cultures in the Postcolonial World | |
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| The Primacy of To-Be-Looked-At-ness | |
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| Translation and the Problem of Origins | |
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| Translation as �Cultural Resistance� | |
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| The �Third Term� | |
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| Weakness, Fluidity, and the Fabling of the World | |
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| The Light of the Arcade | |
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| A Filmic Staging of Postwar Geotemporal Politics: On Akira Regrets for Our Youth, Sixty Years Later | |
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| Coda | |
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| From Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility | |
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| Introduction | |
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| Highlights of a Western Discipline | |
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| Image, Time, Identity: Trajectories of Becoming Visible | |
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| Defining the Sentimental in Relation to Contemporary Chinese Cinema | |
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| The Political Economy of Vision in Happy Times and Not One Less; or, a Different Type of Migration | |
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| Altruistic Fictions in China's Happy Times | |
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| How to Add Back a Subtracted Child? The Transmutation and Abjection of Human Labor in Not One Less | |
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| Notes | |
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| Index | |