By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly individuals operating in Asian American stories, English, anthropology, sociology, and artwork heritage. they give thought to problems with cultural authenticity raised by means of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. formative years tradition, and the movement of Vietnamese song sort exhibits. They learn the connection among chinese language eating places and American tradition, problems with sexuality and race dropped at the fore within the video functionality paintings of a Bruce Lee–channeling drag king, and immigrant tv audience’ dismayed reactions to a chinese language American chef who's “not chinese language enough.” The essays in Alien Encounters reveal the significance of scholarly engagement with pop culture. Taking pop culture heavily finds how humans think and exhibit their affective relationships to heritage, id, and belonging.
Contributors. Wendy Hui Kyong Chun, Kevin Fellezs, Vernadette Vicuña Gonzalez, Joan Kee, Nhi T. Lieu, Sunaina Maira, Martin F. Manalansan IV, Mimi Thi Nguyen, Robyn Magalit Rodriguez, Sukhdev Sandhu, Christopher A. Shinn, Indigo Som, Thuy Linh Nguyen Tu, Oliver Wang
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Additional info for Alien Encounters: Popular Culture in Asian America
While all of these groups also expressed the desire to reach audiences beyond Asian Americans,∂∏ their foremost commitment was to consciously write songs that dealt with Asian American social issues they deemed important, whether that meant racism in the media, anti-Asian violence, or interracial dating. These examples show how Asian American rap groups of the early 1990s 44 Wang took a deliberate stand to make their racial identity the foremost part of their image and artistic message. What is also strikingly similar about these groups is how they perceived hip hop as a vehicle for political expression.
Net. Lowe, ‘‘Epistemological Shifts,’’ 270. ’’ Lubiano, ‘‘A Symposium on Popular Culture and Political Correctness,’’ 11. ’’ Although they do not use the term Asian American creative class, Amy Ling’s and Sunaina Maira’s work suggests that a second generation with a particular interest in the arts came of age during the last few decades. See Ling, Yellow Light; and Maira, Desis in the House. ’’ Marti, ‘‘Context Marketing,’’ 7–12. com/2004/05/ 13/mcdonalds — iam — asian (accessed October 15, 2004).
Coates, ‘‘Just Another Quick-Witted, Egg-Roll-Joke-Making, Insult-Hurling Chinese-American Rapper,’’ 55–56. Lipsitz, Dangerous Crossroads. At the same time, other animated series that seem to be produced in the United States, including The Simpsons, farm their animation out to Asian illustrators. Lau, New Age Capitalism. Han with Morohoshi, ‘‘Creating, Curating, and Consuming Queer Asian American Cinema,’’ 87. Grewal, ‘‘Traveling Barbie,’’ 801. For a fascinating look at the changing uses of culture, see Yudice, The Expediency of Culture.
Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen