{"id":5935,"date":"2001-01-01T11:11:05","date_gmt":"2001-01-01T15:11:05","guid":{"rendered":"http:\/\/bookdragon.si.edu\/?p=5935"},"modified":"2015-08-17T10:38:57","modified_gmt":"2015-08-17T14:38:57","slug":"countervisions-asian-american-film-criticism-edited-by-darrell-y-hamamoto-and-sandra-liu","status":"publish","type":"post","link":"https:\/\/apa.si.edu\/bookdragon\/countervisions-asian-american-film-criticism-edited-by-darrell-y-hamamoto-and-sandra-liu\/","title":{"rendered":"Countervisions: Asian American Film Criticism edited by Darrell Y. Hamamoto and Sandra Liu [in Push > for NAATA]"},"content":{"rendered":"

\"Countervisions\"<\/a>Reading the essays collected in Countervisions: Asian American Film Criticism<\/em>, edited by Darrell Y. Hamamoto and Sandra Liu, you might think that Rea Tajiri\u2019s History and Memory: For Akiko and Takashige<\/em> is the only Asian American film out there \u2013 almost half of the 17 pieces cite it, refer to it, use it. But that\u2019s a minor point, I know.<\/p>\n

The bulk of the problem is that of those 17, I liked two of them very, very much. Or, maybe I should say that I really<\/em> understood only two of them.<\/p>\n

\u201cPerhaps my formal education was too limited to comprehend it all \u2013 the ponderous cerebralism of the conferences, books, journals, and panels that clogged the arteries of cultural theory as it made its way through the 1980s and \u201890s,\u201d writes Renee Tajima-Pe\u00f1a in her essay, \u201cNo Mo Po Mo and Other Tales of the Road,\u201d one of the collection\u2019s two best entries [the other being \u201cLindsey Jang\u2019s hysterical \u201cThrough the Mirror, Sideways\u201d \u2013 more on that below]. She took the words right out of my mouth. I\u2019d add the \u201800s thus far, as well.<\/p>\n

There is a point to this: my goal is truly NOT to bash this book, because it\u2019s part of a genre that is obviously very important \u2013 and timely \u2013 to the Asian American community and the film community at large. Asian Americans make films. Asian American make important, great films. Asian Americans win Oscars: Look at Steven Okazaki\u2019s Days of Waiting<\/em> (1990), Frieda Lee Mock\u2019s Maya Lin: A Strong Clear Vision<\/em> (1994), Jessica Yu\u2019s Breathing Lessons: The Life and Work of Mark O\u2019Brien<\/em> (1997), Chris Tashima\u2019s Visas and Virtues<\/em> (1998), and Keiko Ibi\u2019s The Personals: Improvisations on Romance in the Golden Years<\/em> (1999). Most recently, Asian Americans hit the commercial big time with, most notably, Ang Lee\u2019s phenomenal success Crouching Tiger, Hidden Dragon<\/em>.<\/p>\n

In its own way, in spite of its faults, Countervisions<\/em> is groundbreaking as well. When we were researching the availability of other Asian American film books \u2013 this piece was supposed to include multiple titles \u2013 Countervisions<\/em> is what was available. As an aside, next year, the story will be different, thank goodness. According to the contributors\u2019 notes, we readers can anticipate a plethora of Asian American film titles: Elena Tajima Creef is working on a book about Asian American visual culture, Peter Feng is completing a book-length study on Asian American cinema, Gwendolyn Audrey Foster has Captive Bodies: Postcolonial Subjectivity in Cinema<\/em> coming out, Sandra Liu’s dissertation (which no doubt will get published) is on how capitalism, politics, and spectacle affect Asian American film audiences and the production of Asian American feature films, Gina Marchetti\u2019s current research is on transnationalism and screen culture in Hollywood and Asia, Eve Oishi is working on The Memory Village: Fakeness and Authenticity in Asian American Fiction, Film and Video<\/em>, Celine Salazar Parre\u00f1as\u2019 dissertation is on “Specters of ‘Asian Woman,\u2019” and Julian Stringer is working on a study of the cultural politics of international film festivals.<\/p>\n

The publishing future is certainly bright. For this piece, however, there\u2019s Countervisions.<\/em> With an October 2000 pub date, the contents are already somewhat dated \u2013 the contents were probably finalized in mid-1999, which means it went to press long before the stupendously commercial effect of Ang Lee\u2019s blockbuster on the surprised film industry. …[click here for more<\/a>]\n

Review<\/strong>: Push ><\/em>, NAATA: National Asian American Telecommunications Center (now the Center for Asian American Media), 2001<\/a>; click here to check out CAAM<\/a><\/p>\n

Readers<\/strong>: Adult<\/p>\n

Published<\/strong>: 2000<\/p>\n","protected":false},"excerpt":{"rendered":"

\"Countervisions\"Reading the essays collected in Countervisions: Asian American Film Criticism<\/em>, edited by Darrell Y. Hamamoto and Sandra Liu, you might think that Rea Tajiri\u2019s History and Memory: For Akiko and Takashige<\/em> is the only Asian American film out there \u2013 almost half of the 17 pieces cite it, refer to it, use it. But that\u2019s a minor point, I know.<\/p>\n

The bulk of the problem is that of those 17, I liked two of them very, very much. Or, maybe I should say that I really<\/em> understood only two of them.<\/p>\n

\u201cPerhaps my formal education was too limited to comprehend it all \u2013 the ponderous cerebralism of the conferences, books, journals, and panels that clogged the arteries of cultural theory as it made its way through the 1980s and \u201890s,\u201d writes Renee Tajima-Pe\u00f1a in her essay, \u201cNo Mo Po Mo and Other Tales of the Road,\u201d one of the collection\u2019s two best entries [the other being \u201cLindsey Jang\u2019s hysterical \u201cThrough the Mirror, Sideways\u201d \u2013 more on that below]. She took the words right out of my mouth. I\u2019d add the \u201800s thus far, as well.<\/p>\n

There is a point to this: my goal is truly NOT to bash this book, because it\u2019s part of a genre that is obviously very important \u2013 and timely \u2013 to the Asian American community and the film community at large. Asian Americans make films. Asian American make important, great films. Asian Americans win Oscars: Look at Steven Okazaki\u2019s Days of Waiting<\/em> (1990), Frieda Lee Mock\u2019s Maya Lin: A Strong Clear Vision<\/em> (1994), Jessica Yu\u2019s Breathing Lessons: The Life and Work of Mark O\u2019Brien<\/em> (1997), Chris Tashima\u2019s Visas and Virtues<\/em> (1998), and Keiko Ibi\u2019s The Personals: Improvisations on Romance in the Golden Years<\/em> (1999). Most recently, Asian Americans hit the commercial big time with, most notably, Ang Lee\u2019s phenomenal success Crouching Tiger, Hidden Dragon<\/em>.<\/p>\n

In its own way, in spite of its faults, Countervisions<\/em> is groundbreaking as well. When we were researching the availability of other Asian American film books \u2013 this piece was supposed to include multiple titles \u2013 Countervisions<\/em> is what was available. As an aside, next year, the story will be different, thank goodness. According to the contributors\u2019 notes, we readers can anticipate a plethora of Asian American film titles: Elena Tajima Creef is working on a book about Asian American visual culture, Peter Feng is completing a book-length study on Asian American cinema, Gwendolyn Audrey Foster has Captive Bodies: Postcolonial Subjectivity in Cinema<\/em> coming out, Sandra Liu’s dissertation (which no doubt will get published) is on how capitalism, politics, and spectacle affect Asian American film audiences and the production of Asian American feature films, Gina Marchetti\u2019s current research is on transnationalism and screen culture in Hollywood and Asia, Eve Oishi is working on The Memory Village: Fakeness and Authenticity in Asian American Fiction, Film and Video<\/em>, Celine Salazar Parre\u00f1as\u2019 dissertation is on “Specters of ‘Asian Woman,\u2019” and Julian Stringer is working on a study of the cultural politics of international film festivals.<\/p>\n

The publishing future is certainly bright. For this piece, however, there\u2019s Countervisions.<\/em> With an October 2000 pub date, the contents are already somewhat dated \u2013 the contents were probably finalized in mid-1999, which means it went to press long before the stupendously commercial effect of Ang Lee\u2019s blockbuster on the surprised film industry. …[click here for more<\/a>]<\/p>\n

Review<\/strong>: Push ><\/em>, NAATA: National Asian American Telecommunications Center (now the Center for Asian American Media), 2001<\/a>; click here to check out CAAM<\/a><\/p>\n

Readers<\/strong>: Adult<\/p>\n

Published<\/strong>: 2000<\/p>\n","protected":false},"author":1,"featured_media":32452,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[5,20,27,6535],"tags":[89,6608,4825,4838,4839,1054,4826,4840],"class_list":["post-5935","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-adult-readers","category-nonfiction","category-pan-asian-pacific-american","category-repost","tag-anthology-collection","tag-bookdragon","tag-center-for-asian-american-media","tag-countervisions","tag-darrell-y-hamamoto","tag-film-studies","tag-naata","tag-sandra-liu"],"yoast_head":"\nCountervisions: Asian American Film Criticism edited by Darrell Y. Hamamoto and Sandra Liu [in Push > for NAATA] - BookDragon<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/apa.si.edu\/bookdragon\/countervisions-asian-american-film-criticism-edited-by-darrell-y-hamamoto-and-sandra-liu\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Countervisions: Asian American Film Criticism edited by Darrell Y. Hamamoto and Sandra Liu [in Push > for NAATA] - BookDragon\" \/>\n<meta property=\"og:description\" content=\"Reading the essays collected in Countervisions: Asian American Film Criticism, edited by Darrell Y. Hamamoto and Sandra Liu, you might think that Rea Tajiri\u2019s History and Memory: For Akiko and Takashige is the only Asian American film out there \u2013 almost half of the 17 pieces cite it, refer to it, use it. But that\u2019s a minor point, I know. The bulk of the problem is that of those 17, I liked two of them very, very much. Or, maybe I should say that I really understood only two of them. \u201cPerhaps my formal education was too limited to comprehend it all \u2013 the ponderous cerebralism of the conferences, books, journals, and panels that clogged the arteries of cultural theory as it made its way through the 1980s and \u201890s,\u201d writes Renee Tajima-Pe\u00f1a in her essay, \u201cNo Mo Po Mo and Other Tales of the Road,\u201d one of the collection\u2019s two best entries [the other being \u201cLindsey Jang\u2019s hysterical \u201cThrough the Mirror, Sideways\u201d \u2013 more on that below]. She took the words right out of my mouth. I\u2019d add the \u201800s thus far, as well. There is a point to this: my goal is truly NOT to bash this book, because it\u2019s part of a genre that is obviously very important \u2013 and timely \u2013 to the Asian American community and the film community at large. Asian Americans make films. Asian American make important, great films. Asian Americans win Oscars: Look at Steven Okazaki\u2019s Days of Waiting (1990), Frieda Lee Mock\u2019s Maya Lin: A Strong Clear Vision (1994), Jessica Yu\u2019s Breathing Lessons: The Life and Work of Mark O\u2019Brien (1997), Chris Tashima\u2019s Visas and Virtues (1998), and Keiko Ibi\u2019s The Personals: Improvisations on Romance in the Golden Years (1999). Most recently, Asian Americans hit the commercial big time with, most notably, Ang Lee\u2019s phenomenal success Crouching Tiger, Hidden Dragon. In its own way, in spite of its faults, Countervisions is groundbreaking as well. When we were researching the availability of other Asian American film books \u2013 this piece was supposed to include multiple titles \u2013 Countervisions is what was available. As an aside, next year, the story will be different, thank goodness. According to the contributors\u2019 notes, we readers can anticipate a plethora of Asian American film titles: Elena Tajima Creef is working on a book about Asian American visual culture, Peter Feng is completing a book-length study on Asian American cinema, Gwendolyn Audrey Foster has Captive Bodies: Postcolonial Subjectivity in Cinema coming out, Sandra Liu's dissertation (which no doubt will get published) is on how capitalism, politics, and spectacle affect Asian American film audiences and the production of Asian American feature films, Gina Marchetti\u2019s current research is on transnationalism and screen culture in Hollywood and Asia, Eve Oishi is working on The Memory Village: Fakeness and Authenticity in Asian American Fiction, Film and Video, Celine Salazar Parre\u00f1as\u2019 dissertation is on "Specters of 'Asian Woman,\u2019" and Julian Stringer is working on a study of the cultural politics of international film festivals. The publishing future is certainly bright. For this piece, however, there\u2019s Countervisions. With an October 2000 pub date, the contents are already somewhat dated \u2013 the contents were probably finalized in mid-1999, which means it went to press long before the stupendously commercial effect of Ang Lee\u2019s blockbuster on the surprised film industry. ...[click here for more] Review: Push >, NAATA: National Asian American Telecommunications Center (now the Center for Asian American Media), 2001; click here to check out CAAM Readers: Adult Published: 2000\" \/>\n<meta property=\"og:url\" content=\"https:\/\/apa.si.edu\/bookdragon\/countervisions-asian-american-film-criticism-edited-by-darrell-y-hamamoto-and-sandra-liu\/\" \/>\n<meta property=\"og:site_name\" content=\"BookDragon\" \/>\n<meta property=\"article:published_time\" content=\"2001-01-01T15:11:05+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-08-17T14:38:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/apa.si.edu\/bookdragon\/wp-content\/uploads\/sites\/10\/2001\/01\/Countervisions.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"353\" \/>\n\t<meta property=\"og:image:height\" content=\"500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Smithsonian Asian Pacific American Center\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@SmithsonianAPA\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Smithsonian Asian Pacific American Center\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Countervisions: Asian American Film Criticism edited by Darrell Y. 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Or, maybe I should say that I really understood only two of them. \u201cPerhaps my formal education was too limited to comprehend it all \u2013 the ponderous cerebralism of the conferences, books, journals, and panels that clogged the arteries of cultural theory as it made its way through the 1980s and \u201890s,\u201d writes Renee Tajima-Pe\u00f1a in her essay, \u201cNo Mo Po Mo and Other Tales of the Road,\u201d one of the collection\u2019s two best entries [the other being \u201cLindsey Jang\u2019s hysterical \u201cThrough the Mirror, Sideways\u201d \u2013 more on that below]. She took the words right out of my mouth. I\u2019d add the \u201800s thus far, as well. There is a point to this: my goal is truly NOT to bash this book, because it\u2019s part of a genre that is obviously very important \u2013 and timely \u2013 to the Asian American community and the film community at large. Asian Americans make films. Asian American make important, great films. Asian Americans win Oscars: Look at Steven Okazaki\u2019s Days of Waiting (1990), Frieda Lee Mock\u2019s Maya Lin: A Strong Clear Vision (1994), Jessica Yu\u2019s Breathing Lessons: The Life and Work of Mark O\u2019Brien (1997), Chris Tashima\u2019s Visas and Virtues (1998), and Keiko Ibi\u2019s The Personals: Improvisations on Romance in the Golden Years (1999). Most recently, Asian Americans hit the commercial big time with, most notably, Ang Lee\u2019s phenomenal success Crouching Tiger, Hidden Dragon. In its own way, in spite of its faults, Countervisions is groundbreaking as well. When we were researching the availability of other Asian American film books \u2013 this piece was supposed to include multiple titles \u2013 Countervisions is what was available. As an aside, next year, the story will be different, thank goodness. According to the contributors\u2019 notes, we readers can anticipate a plethora of Asian American film titles: Elena Tajima Creef is working on a book about Asian American visual culture, Peter Feng is completing a book-length study on Asian American cinema, Gwendolyn Audrey Foster has Captive Bodies: Postcolonial Subjectivity in Cinema coming out, Sandra Liu's dissertation (which no doubt will get published) is on how capitalism, politics, and spectacle affect Asian American film audiences and the production of Asian American feature films, Gina Marchetti\u2019s current research is on transnationalism and screen culture in Hollywood and Asia, Eve Oishi is working on The Memory Village: Fakeness and Authenticity in Asian American Fiction, Film and Video, Celine Salazar Parre\u00f1as\u2019 dissertation is on \"Specters of 'Asian Woman,\u2019\" and Julian Stringer is working on a study of the cultural politics of international film festivals. The publishing future is certainly bright. 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