Course:ASIA321/2022/Lisa Lu
Introduction
This Wiki page is aimed at those who are interested in learning about Chinese celebrity culture, specifically female movie stars who come from Chinese heritage that break down the barriers of stereotypes that Western people have on Chinese culture.
Lisa Lu (卢燕祖) is an Chinese-American actress who landed several leading roles in American films in the early 1960s. Lu was born on January 19, 1927 and is 173m in height. She first starred in her first movie Mountain Road in 1971. She also won the Best Actress Award at the 9th Taiwanese Film Golden Horse Awards for her film "Mrs. Dong". As the only person who is a member of both Hollywood Foreign Press Association and the Academy of Motion Arts and Sciences, Lu has created a name for herself in the American film industry as well as the Hong Kong film industry.
This wiki page will explore Lisa Lu's early life, take a look at her film and television role history and delve into the various social and political factors that contribute to her fame. Furthermore, this page will include our group's own personal thoughts and ideas relating to Lu's celebrity identity and impact on the Western and Eastern film industry surrounding Asian American actors and actresses.
Biography
Lisa Lu was born in Beijing in 1927 and grew up in Shanghai. Lisa's mother Li Guifen is a Peking Opera actress and Mei Lanfang, also a Peking Opera actor is her father. Additionally, her godfather was a celebrated actor; thus making several of her family members already a part of the entertainment. Her mother taught her how to sing opera at a young age and grew much interest in becoming an opera singer. Before she emigrated to the United States, she started her career as a teenager performing in Kunqu theatrical performances which is a traditional form of Chinese Opera. Due to the Chinese Civil War ending with a Communist victor, the new regime subsidized China's theatres and shut them down during the 1960s. This caused Lisa to migrate to the United States in the late 1950s. Due to Lisa's talent in arithmetic and her honest nature, her mother wanted her to become a banker so Lisa was actually in accounting before becoming an actress. In college, she majored in financial administration at the JiaoZhong University and took a position at a banking company, however at the age of 30, she realized she was unhappy working in the business cooperate world. Her husband then told her to pursue acting so that she would have no regrets later on.
After moving to California for work at a hospital doing a business role, Lisa still could not forget about acting. This is when she decided to go back to school to the Pasadena Playhouse. Moreover, Lisa actually never performed on Broadway; however got into stage work upon graduation at the Pasadena Playhouse.
She has lived at her home in Hollywood for 67 years where she spent valuable time with her late husband, children and grand children. Lu had 3 children in total, including Lucia Hwong well acknowledged as a gifted musician and composer.
Life roles
Lisa Lu is the wife to Huang Sheling (1922-1996) who is a former Chinese American diplomat of the nationalist government. She also plays the role of mother as she has 3 children with Huang Sheling, one of whom is the composer Lucia Huang. Her mother who was a opera actress taught her how to sing Opera style (Kunqu) and so throughout her career Lisa continues to appear frequently in Chinese Opera productions. Lisa is never idle and always working on something from producing documentaries, appearing on Chinese T.V. miniseries or performing as a soap opera. In the current days, she has many tributes paid to her on Chinese and Taiwanese T.V. as a legendary actress who paved the way for Asian actors and actresses in order to find success in the Western film industry. Her ability to keep in touch with her Chinese heritage sets her apart from other asian actresses at the time who fall in obscurity and is a reason that Lisa continues to appear in big name films even now.Lisa's first screen role was under a very famous and accomplished director Frank Versagi, however upon her interview for the role, he turned her down because they already gave the leading role to another Chinese lady Li LiHua. She then convinced him to give her her first role as a bar maid after much persuasion.
Lisa's repertoire of movie roles is extremely varied from acting as a young widow, a nun, a disowned daughter and the matriarchal figure of a wealthy Singaporean family, Lisa took on any role no matter how small because she finds joy and health in a busy schedule. Her ability to adapt to any role and to deliver a captivating performance every time makes Lisa shine as the first Asian American actress ever to break those boundaries and stereotypes of Asian culture in the Westernized world.
Screen roles
From 1958, Lisa Lu began making a presence in film and television. From that period until 2018, Lisa played a plethora of roles, that vary in different character ages, styles and personality traits. Lu has moved between roles in Hong Kong and American films and television throughout her career; however, mainly working in American films.
Lu made her film debut in the movie The Mountain Road (1960), as Madam Su-Mei Hung. This film was Lu's first notable film role where she played the role of an attractive American-educated widow of a general. In this film there is a brief romance between the leader of a unit and madam hung, later resulting in conflict between the two lovers based on the idea that the end (his mission) sanctifies the means, and on her disagreement with his indiscriminate killings. In 1962, Lu played roles in two more films Rider on a Dead Horse and Womanhunt, and for the remainder of this decade, she made appearances in several television shows. By the late 1960s, Lu worked more in Hong Kong films, most notably The 14 Amazons (1972). In the 1970s, Lu appeared in a variety of films where she was able to play roles such as an empress in Qing guo Qing Cheng (1975) and a supporting part in a dystopian science fiction film Demon Seed (1977). In 1976, Lu was able to reprise her role in the sequel to Qing guo Qing Cheng, The Last Tempest . In 1970, Lu won her first award, a Golden Horse Award for best actress in the film The Arch (1970) and she also won a best supporting actress award for The 14 Amazons (1972).
In 1981, Lu played a nun in Don't Cry, It's Only Thunder (1982) which was set during the Vietnam war, depicting a selfish and cynical solider. Shortly after this film, Lu narrated a documentary film Sewing Woman (1982). For the rest of the 1980s, Lu had some small roles in Tai-Pan (1986) and Noble House (1988). Both of these films were based on adaptions of novels both set in Hong Kong. From the 1990s, leading into the 2000s, Lu played multiple more roles in several films, most notably a generational film The Joy Luck Club (1993) where she played a young girl disowned by her family and a mother of General She Yan-Sheng in Temptation of a Monk (1993), which was set in 7th century China. For the remainder of the 2000s, Lu played small roles in several more films.
As Lu made way into 2000s, she took on fewer roles. In 2010, she played an aging widow in Apart Together (2010) whose husband disappeared in 1949 during the final stretch of the civil war and in 2012, she also appeared in a romantic film Dangerous Liaisons (2012) and finally in 2018, she had a role as a matriarch of a wealthy Singaporean family in the critically acclaimed film Crazy Rich Asians (2018).
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Substantive analysis of the celebrity's profession
Lisa's first screen role was under a very famous and accomplished director Frank Versagi, however upon her interview for the role, he turned her down because they already gave the leading role to another Chinese lady Li LiHua. She then convinced him to give her her first role as a bar maid after much persuasion. She did not fit the role's description since the bar maiden role was supposed to go to someone with a "sexy" body and someone with big bosoms, however Lisa earned the role by demonstrating her acting skills and convincing the director to change the bar maiden character to someone that matched Lisa's build. Lisa was able to adapt right away to any changes in the script, establishing herself as a reliable actor. They gave her the nickname "One-take Lisa". As others heard of her adaptability and reliability, she gained more and more roles since it would save the directors money. This situation between the then-unexperienced Lisa Lu and the well established director highlights Lisa's motivation and drive to achieve what she wants in life even when faced with obstacles. Lisa took rejection and somehow managed to turn it into the starting point of her hugely successful and immensely lengthy career.
In those times, roles for asian women were limited and writers knew next to nothing about asian people due to the lack of communication and diplomatic relationship between China and the Americas. The Chinese people were seen as laundromat people or restaurant owners since that's all they've seen. Sometimes, the directors and writers will include absurd aspects for the Chinese roles such as dialogue and costumes and speaking "pigeon english", however Lisa rejected Asian stereotypes and would always voice her opinion on these matters, even in the face of well established directors. Unfortunately, there was little she could do to convince the writers to change the roles due to the directors ignorance of other cultures.
Lisa Lu left her mark on the world by funding the construction of Yanyun Pavilion at Shanghai Jiaotong University. She attended the Academic Symposium of the 9th Golden Phoenix Film Performing Arts Society in 2003. In 2015, the second Us-china Film and Television Industry Expo established the "Lu Yan Film Scholarship" in the name of Lisa Lu. She won 3 of the most prestigious Golden Horse awards for best actress which is Taiwan's equivalent to the Academy Awards. She took those roles associated with the award out of necessity as work in America was starting to dry up. One of the roles was a 100 year old official that nobody wanted because they wanted to play the young and beautiful characters, however Lisa did not hesitate to take on the role and it won her a Golden Horse award for supporting actress. Even in the midst of her career when she is already established, Lisa can still be described as adaptable and reliable throughout her career since the beginning. She is able to mold herself into what the directors need and it helped to bolster her up to become one of the biggest Asian American actresses in today's age.
Reception of the celebrity
Lisa Lu's performances are viewed by audiences as beautiful, glamorous and solemn, and a new facet of which Chinese actresses are represented with a distinctive unique face in Hollywood. Throughout her career, she acted alongside big name American actors such as James Stewart and Marlon Brando. She became a regular, appearing in many American television dramas at the time, paving the way for a new era of Chinese actors in Hollywood. In the midst the cultural divide between the East and the West, Lisa Lu stuck by her roots and refused to succumb to stylized performances. She often fought for proper and accurate representation of the Chinese image. Her calm demeanour, and lovely disposition changed the stereotypical view that many Americans had of the Chinese woman. These days, she continues to have tributes paid to her on Chinese television as a legendary actress who helped to pave the way for other Asian actresses to find success and visibility in the Western world. What makes Lisa Lu unique is how she stays in touch with her Chinese and Asian cultural heritage.
In the 1960s, Lisa Lu was trying to build a name for herself, alongside the two bigger Asian American actresses that found success working for Hollywood at the time: Nancy Kwan and France Nguyen. Many Asian Americans found pride in their success in that it reflected how people of Asian background could find success in the Western world. However, when we zoom in on the roles and personas that Nancy and France play, we realize that they found success in propagating and representing what Western culture considers acceptable and accessible about Asians. Nguyen's mother was French and France saw herself as more of a French woman since she was born and raised in France, uninterested in her Asian heritage. Kwan's mother was English and she spent most of her childhood in English boarding schools. Nguyen and Kwan mainly acted in English films as attractive, decorative roles that fit the Westernized impressions of how an Asian woman is supposed to be. Both these woman built their career off of selling themselves as a representation of Asian culture, however they can be described as "Hollywood starlets who helped perpetuate Asian stereotypes than actresses who are truly representative of Asian culture or cinema". Lisa on the other hand never wavered about her asian heritage and never moulded herself to fit into stereotypical Asian roles. Her connection to her roots keep her relevant as a viable actress who understands and accurately represent Asian heritage, culture and perspectives.
It is obvious that the reception of Lisa Lu has changed dramatically over the course of her lifetime and she has paved the way for Asian American actors and actresses. In the beginning, she was a no-name Chinese actress who didn't have many movie parts to fill due to the lack of asian roles in the Hollywood movie industry. Even if there were roles, they would be stereotypical, outrageous and not representative of Chinese culture at all. However, she fought for proper representation and as a result, many of the Asian American actors and actresses see Lisa Lu as a role model and have much of the success they have in the Hollywood movie industry to Lisa.
Critical literature review
Asian American Media Representation: A Film Analysis and Implications for Identity Development by Aerika Brittian Loyd
Loyd examines representation of Asian Americans in the media through a film analysis where she focused on identifying the presence of Asian representation that either resisted or catered to stereotypes portrayed by Asian characters in films over the past 25 years. Through this study Loyd had found that stereotype-resisting Asian representations in film is present; especially in recent films. However, stereotype-confirming representations were still the majority of Asian roles in films. This highlights the fact that most Asian representation in film is based on harmful stereotypes. This is significant as Loyd states that media can impact identity development, with media representation being a fundamental cognitive, social, and developmental task related to understanding one’s place in the social world. This analysis is heavily related to Lisa Lu’s career as a Chinese woman in early American films. With her career dating back to the 1960’s and her being one of the very few Asian actresses in Hollywood, it would be safe to assume that the majority of her roles were stereotype-confirming.
American Rules and Chinese Faces: The Games of Amy Tan's "The Joy Luck Club" by Tara Fickle
Fickle’s article criticizes Amy Tan’s The Joy Luck Club (1993) by pointing out the obvious instances where the movie played into stereotypes instead of using it as an opportunity for alternative configurations of Asian American identity and interpretation. The Joy Luck Club follows four Chinese mothers and their life as immigrants in America trying to incorporate both cultures into their lives.
Fickle points out that the story caters to the model minority myth and gives a fun depiction of what is really a very serious and difficult pursuit of economic and scholastic success. Instead of highlighting the real struggles that Asian Americans face as new immigrants in America, The Joy Luck Club portrays the journey for success as too easy. Fickle emphasizes what other critics have pointed out that The Joy Luck Club blurs the line between “backwards” Oriental depictions and “progressive” Asian American depictions. This criticism can be seen as a reaction to many of Lisa Lu’s American films. Lisa Lu is commonly praised as a pioneer Asian actress in American films, but many of the characters she portrayed in her early films caters to rather than challenges stereotypical assumptions about the racial group as a whole. With The Joy Luck Club, being one of Lisa Lu’s most notable roles, it could be said that Lisa Lu has benefited from catering to these stereotypes throughout her career. This raises questions as to whether Lisa Lu representing Asians in western films during a time with few Asian actresses is iconic or selling out to Oriental stereotypes.
Gender Politics and Neoliberalism in China: Ann Hui's The Postmodern Life of My Aunt by Gina Marchetti
Marchetti explores how transnational Chinese cinema opens a space for criticism from female filmmakers with a particular vision of Chinese women within global film culture. She specifically takes a deep dive analyzing director Ann Hui's The Postmodern Life of My Aunt (2006) starring many Asian acting icons such as, Siqin Gaowa and Lisa Lu.
The Postmodern Life of My Aunt explores the meaning of “postmodern,” within the context of post-Mao and post-Deng. The film acts as an allegory about gender and the economy within the political history of contemporary china. Lisa Lu’s character act as a foil to Sinqin Gaowa’s character to illustrate the various struggles that women have when countering feudal confucian notions of gender inequality and feminism in Shanghai, China. As Auntie Yu (Siqin Gaowa) struggles to survive in Shanghai, her neighbor, Mrs. Shui (Lisa Lu), enjoys a more pampered lifestyle. The two character are both living apart from their families and lonely within the new market economy. The struggles both characters have highlights that women have lost out on Mao’s promise for female equality. Lu’s character of Mrs. Shui is reflective of her own life where she pursued independence by leaving her hometown and pursuing acting in America during this post-Deng era. This article provides us with insight of what navigating feminism in post-Mao and post-Deng China was like for women. Not only is Lisa Lu a representation of exactly the kind of woman the film was trying to portray during this era, but as a pioneer of feminism during this era, Lisa Lu paves the path as an inspiration for women navigating independence and success during the post-Deng era.
Excessively Asian: crying, Crazy Rich Asians, and the construction of Asian American audiences by Lori Kido Lopez
Lopez's article analyzes the reactions that Asian American viewers had to one of Lisa Lu's most recent films, the popular romantic comedy Crazy Rich Asians (2018). Lu plays the role of Shang Su Yi, the matriarch of a wealthy and influential Singaporean family in the film, Crazy Rich Asians. Lopez uses these reactions to highlights the struggle Asian Americans have while fighting to exceed and resist the limitations that the current media landscape places on Asian Americans.
The film Crazy Rich Asians garnered very diverse reactions from viewers, from crying in the theatre to angrily expressing their frustrations with the films lack of representation of Asian American issues. Lopez concludes that the plethora of highly emotional responses from different ends of the spectrum are a result of the pressure to enjoy and relate to a film that has unprecedented Asian representation in Hollywood. The different responses builds upon one another to create a network of meaning within the larger context of Asian American marginalization and underrepresentation. This film and audiences reactions represent the lack of Asian representation in Western media. Lisa Lu's character of Shang Su Yi, the matriarch of a powerful family is significant as she is also a pillar of Asian representation within the entertainment industry. With her experiences in film dating back to the 1960's Lu has been a pioneer for Asian actors and actresses within the western film industry. Despite the lack of Asian actresses in Hollywood, Lu was able to consistently land roles and has achieved icon status with her work as an Asian American actress spanning over half a century. This is similar to her roll of Shang Su Yi in Crazy Rich Asians as they are both strong powerful women who represent power, success and are a pillar of stability in an otherwise unstable environment. Lisa Lu's career is a pillar of stability within the unstable and underrepresented world of Asian American media.
A Critical Analysis of The Joy Luck Club by Nasrullah Mambrul
The Joy Luck Club is a film adaption of the best selling novel by Amy Tan. Based in San Francisco, the film follows four Chinese mothers, (Kieu Chinh, Tsai Chin - Lucky Grandma, France Nuyen, and Lisa Lu) telling each of their stories. Wanting to produce this film upon the novels release, the director Wayne Wang approached Tan to begin production. Wang pushed to get this film going as he believed it would make a break through for Asian Americans displaying the unique dynamics and vexed relationships. This American drama film depicts relationships between Chinese-American children and their Chinese immigrant mothers who meet often to play mahjong, eat and tell stories. As this film was initially released secretly, being privately screened in sneak peak previews and film festivals, it did relatively well in the box office earning $32.9 million in America alone. Moreover, the film received much critical reaction. Many critics described this film to be a heartrending and transcendent adaption as well as an emotional, unforgettable mosaic of a film. However, there was some negative criticism which followed for Asian American and Asian male characters in this film adaption. Nasrullah Mambrul delves into the film and critically analyzes the film adaption of the novel The Joy Luck Club.
The film is based in San Francisco about four women who have immigrated from China, remarried and gave birth to children in America. Mambrul discusses in their critical analysis how film heavily emphasizes the hardships and triumphs of the relationship between the immigrant Asian-American mothers and their Asian-American children. Significant differences are evident between these two groups of women (mothers and daughters). In this paper, Mambrul describes how immigrants, the mothers are forced to unpack personal archives of loss and pain to reassess their lives in America, which provides a foundation for their further discussions on ideas of the mother daughter relationships protrayed in the film. Mambrul notes that although as time progresses, the mothers do acquire skills in English language, they never fully become fluent and also are constantly relinquishing rituals and ceremonies of their pasts and Chinese culture. In contrast, their English American born daughters are more influenced by the American lifestyle and culture further depicting their narratives turning on cross-cultural confusions, questioning of self and identity and also generational conflict. Driven by feelings of resentment and fear of maternal disapproval, the daughters try to balance both keeping a sense of Chinese culture their mothers instill with needing to reconcile their own American lives. The result becomes alienation and silence between mothers and daughters, due to an unbridgeable gulf between the two generations. Eventually the daughters learn to listen to their mothers' stories and how they actually link and can benefit their current lives.
Lisa Lu plays the role of An-Mei an Asian-American woman who was raised by her relatives and grandmother. One narrative in the film follows An Mei (Lisa Lu) and her daughter Rose, where An-Mei is giving her daughter relationship advice through telling a story about her own mother. For context, Rose marries a man Ted, whom she met in college; however, as the marriage progresses their relationship dwindles as. Rose becomes submissive, desperate to prove her love to Ted. As An-Mei knows about the struggles her daughter is going through it begins to remind her of what had happened to her own mother and she relays the story of her own mothers fate to Rose in hopes that Rose will stand up to Ted. Following this conversation, Rose regains strength and confronts her husband to change the fate for her and her daughter and to give both of them a better life.
Critical debates
Lisa Lu: Progressive Asian American Representation vs. Backwards Oriental depictions
Common criticism that people have for Lisa Lu’s films and the characters she portrays would be that they commonly play into stereotypes to appeal to Western audiences. This can be seen in many of Lisa Lu’s early films such as, The Mountain Road (1960), where she takes on the role of Madam Su-Mei Hung; the widow of a Chinese colonel who eventually becomes the unexpected love interest of Major Baldwin. With the limited roles for Asian actresses during the 1960s, Lu is often praised for her long resume of movies and projects that she had worked on. But with Lu’s long list of movie credits comes along a long list of problematic roles that play into Oriental stereotypes, especially those of Oriental women.
Fickle’s criticism of one of Lu’s most notable works, The Joy Luck Club (1993) highlights the struggle between Asian representation and backwards Oriental depictions. The Joy Luck Club, becoming a successful film with an Asian representative cast during its time, was celebrated as diverse and barrier breaking as one for the first Asian American films in popular media. But the depictions of the four main characters as stereotypical Asian immigrant women contributes to model minority myth and subtracts from the struggles Asians face when pursuing the “American dream.” Critics state that Joy Luck Club has “backwards” Oriental depictions while other viewers praise Joy Luck Club for its “progressive” Asian American depictions.
Even Lisa Lu’s recent film, Crazy Rich Asians (2018), received much criticism for not representing Asian Issues. As stated by Lopez, Crazy Rich Asians received extreme reactions from both ends of the spectrum. Some viewers weeped in theatres because they were so touched by the movie, while others went online and left angry reviews. Many critics have pointed out the backwardness of representing Asians as “crazy rich.” This label of “crazy rich” feeds into ideas of Asians as a model minority and minimizes Asian immigrants struggles. It seems to be a trend for Lisa Lu’s films to portray Asian-ness in a glorified and rose tinted light. This raises questions as to whether all types of Asian representation in the media is positive or does Asian representation in the media need to be reflective of Asian struggles and hardships in order to be positive.
The struggle between progressive Asian American depictions and backwards Oriental depictions is one that is still present within our media today. Lisa Lu’s career highlights the question, is all representation positive? Many critics believe that representation that minimizes the struggles of Asian Americans would be backwards, but supporters would state that any representation is still progress and should be celebrated. Lisa Lu is an actress that has arguably benefited from Oriental stereotypes. As many of the rolls that forged her path to fame was based off stereotypes. But on the other-hand, she has also paved the way for many new and up-coming Asian actors and actresses in America. We believe that although she participated in portraying stereotypical roles in the past, she has pioneered Asian representation in the media. With Asian representation becoming more stereo-type resisting we hope that more Asian actors and actresses will be able to follow Lisa Lu's path and start positively representing Asians within popular American media.
Conclusion
Born from parents both of whom were opera singers, Lisa Lu took after them acquiring opera skills at a young age; however, pursued a career in finance in order to fulfill her parents ambitions. Driven by her own interests as a young adult, Lu veered off the cooperate path and into acting where her passions truly resided. Lu was able to make a name for Asian-American actresses. Through acting in a multitude of roles and being able to adapt to different character styles during the 1960s and 1970s, Lu was able to establish a name for herself in America and further bridge a gap between Asian woman and American film.
The first component of our page explored her family ties and life roles, looking at her impact on both the Asian and Western film industries. We then summarized Lu's handful of screen roles throughout her 58 years in the film industry and looked at key societal and economic and historic forces influencing her career. Furthermore, we analyzed five critical reviews on different films Lu head representative roles in including The Joy Luck Club , Crazy Rich Asians and The Postmodern Life of my Aunt.
Lisa Lu's career is not one without criticism. With many of her roles catering to the western audience, she has played many characters that catered to Oriental stereotypes. Many of her films were criticized to be harmful for their harmful Asian depictions. Lisa Lu's career raises questions on whether all Asian representation in the media is positive, and at what point would the Asian community be better off without such representations in the media. As we can see through research done by Loyd, Asian representation in film in recent years has become more stereo-type resisting. We hope that this would mean that more Asian actors and actresses will have careers as long and as fruitful as Lu's and that their legacies will be filled with positive representations of Asians.
Lisa Lu is a force to be reckoned with in the Asian and Western film industry. She was the pioneer of proper Asian representation in Hollywood, unlike others before her who only acted how Westerners at the time expected Asian women to act. Her immensely diverse repertoire of roles and extremely long career in the industry demonstrates her huge success in making a mark on the Western and Asian film industry. Many Asian American actors and actresses today owe their success to the path that Lisa Lu paved out for them as the first Asian American actress to accomplish huge feats while still staying true to her Chinese heritage.
References
- “Lisa Lu.” Wikiwand, https://www.wikiwand.com/en/Lisa_Lu.
- That is China. “Https://Www.youtu.be.com.” YouTube, YouTube, 17 Jan. 2019, https://www.youtube.com/playlist?list=PLWsocmTblpvdcueHmmVChVo7niI_hl9i7.
- Bitsky, Leah. “'Crazy Rich Asians' Actress Lisa Lu Selling $3m Zhang Daqian Painting.” Page Six, Page Six, 24 Sept. 2020, https://pagesix.com/2020/09/24/crazy-rich-asians-actress-lisa-lu-selling-3m-zhang-daqian-painting/.
- Place, Hill. “Lisa Lu: An Authentically Asian Actress.” Lisa Lu: An Authentically Asian Actress, 1 Jan. 1970, https://hillplace.blogspot.com/2014/01/lisa-lu-authentically-asian-actress.html.
- Hi China. “Icon 07/11/2015 Lisa Lu, Actress.” Youtube, 4 Aug. 2015, https://youtu.be/-x7L_fFB5cM.
- Mambrol, Nasrullah. “Critical Analysis of Amy Tan's the Joy Luck Club.” Literary Theory and Criticism, 4 Oct. 2020, https://literariness.org/2020/10/04/critical-analysis-of-amy-tans-the-joy-luck-club/.
- Lopez, Lori Kido. “Excessively Asian: Crying, Crazy Rich Asians, and the Construction of Asian American Audiences.” Critical Studies in Media Communication, vol. 38, no. 2, 2021, pp. 141–154., https://doi.org/10.1080/15295036.2021.1883193.
- Marchetti, Gina. “Gender Politics and Neoliberalism in China: Ann Hui's the Postmodern Life of My Aunt.” Visual Anthropology, vol. 22, no. 2-3, 2009, pp. 123–140., https://doi.org/10.1080/08949460802623747.
- Fickle, Tara. “American Rules and Chinese Faces: The Games of Amy Tan’s ‘The Joy Luck Club.’” MELUS, vol. 39, no. 3, 2014, pp. 68–88. JSTOR, http://www.jstor.org/stable/24569861. Accessed 14 Nov. 2022.
- Fickle, T. (2014). American rules and Chinese faces: The games of amy tan's the joy luck club. MELUS: Multi-Ethnic Literature of the United States, 39(3), 68–88. https://doi.org/10.1093/melus/mlu024
- Besana, Tiffany, et al. “Asian American Media Representation: A Film Analysis and Implications for Identity Development.” Research in Human Development, vol. 16, no. 3-4, 2019, pp. 201–225., https://doi.org/10.1080/15427609.2020.1711680.
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This resource was created by Jessica Huang, Mikaela Lai, Lucy Ding. |