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This revised and expanded edition of the first comprehensive study
of Occidentalism in post-Mao China includes a new preface,
foreword, and chapter on Chinese diaspora writings in the Chinese
language. Xiaomei Chen offers an insightful account of the
unremittingly favorable depiction of Western culture and its
negative characterization of Chinese culture in post-Mao China
since 1978. She examines the cultural and political
interrelationship between the East and West from a vantage point
more complex than that accommodated by most current theories of
Western imperialism and colonialism. Going beyond Edward Said's
construction in Orientalism of cross-cultural appropriations as a
defining facet of Western imperialism, Chen argues that the
appropriation of Western discourse what she calls "Occidentalism"
can actually have a politically and ideologically liberating effect
on contemporary non-Western culture. She maintains that simplistic
allegations of Orientalism frequently found in current critical
discourses seriously underestimate the complexities of
intercultural and multicultural relationships. Using China as the
focus of her analysis, Chen examines a variety of cultural media,
from Shakespearean drama, to modernist poetry, to contemporary
Chinese television and popular fiction. She thus places sinology in
the general context of Western theoretical discourses, such as
Eurocentrism, postcolonialism, nationalism, modernism, feminism,
and literary hermeneutics, showing that it has a vital role to play
in the study of Orient and Occident and their now unavoidable
symbiotic relationship. Occidentalism presents a new model of
comparative literary and cultural studies that reenvisions
cross-cultural appropriation. It will be indispensable to future
discussions of Orientalism, Occidentalism, and postcolonialism, as
well as subaltern studies, Asian studies, comparative literature,
cultural studies, and non-Western drama."
From her early film studies to her most recent critiques of
contemporary pop culture, Chinese Cinema Culture: A Scene in the
Fog presents Dai Jinhua's multiple theoretical moves toward writing
difference into the Euro-American discourses current in China
today; it is an account of both her interrogation of mainstream
Western theories and her eventual flight from them. She searches
for a theoretical strategy that enables her to narrate critically
the intellectual and gendered film history and culture of the
post-Mao and post-Deng eras without sacrificing it to the
orientalizing gaze of the West. Her work demonstrates brilliant
insights into China's cinema tradition that is inseparable from
both the political legacy of Maoism and current postcolonial order
of cultural knowledge. This book includes 11 essays organized in
three parts and one dialogue on Chinese cinema culture as the
afterword.
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