How are Buddhists and Buddhism represented in contemporary films? Are these mediated sources accurate representations of the Buddhist tradition? What kinds of Buddhisms and Buddhists are missing in these films and why?"Silver Screen Buddha" is the first book to explore the representation of Buddhism, race, and gender in contemporary films directed by both Asian and non-Asian directors. It examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century - from images of Shangri-La in Frank Capra's 1937 "Lost Horizon" to Kim Ki-Duk's 2003 international box office success, "Spring, Summer, Fall, Winter....and Spring." The book helps readers see that representations of Buddhism in Asia and in the West are often fraught with political, gendered, and racist undertones that are missed and overlooked by viewers. "Silver Screen Buddha" also draws significant attention to the ordinary lay Buddhism that is often overlooked in popular film. Readers are introduced to some of the key Buddhist texts and doctrines that are implied in Buddhist films yet not explicitly explained, helping them to ascertain the difference between a fictionalized, commodified, and exoticized Buddhism and a more realistic representation of the tradition that includes the laity and, in particular, women and Asian/Asian Americans. The book also engages in a reimagining of Buddhism that expands the popular understanding of Buddhism as the realm of meditating monks and nuns to include an everyday lay Buddhism.

Challenging Western notions of Buddhism as a self-effacing path to rebirth and enlightenment, Sharon Suh shows how first-generation Korean Americans at Sa Chal Temple in Los Angeles have applied Buddhist doctrines to the project of finding and knowing the self in everyday life. Buddhism, for these Buddhists, serves as a source of empowerment and as a wellspring of practical and spiritual relief from myriad everyday troubles. Painful life events and circumstances--psychological stresses, marital discord, adjustments to immigrant life, racial and religious minority status--prompt a turning toward religion in an effort to build self-esteem. The process of coming to find and know the self initiates a transformation that, far from taking future rebirths as its focus, enables the self to enact change in the present. Oral histories from twenty-five men and twenty-five women also offer unexpected insights into distinctly male and female forms of Buddhist worship. As a commentary on ethnicity, Being Buddhist in a Christian World challenges much of the existing literature in Asian American studies by placing religion at the center and illustrating its importance for shaping ethnic identity. Not only does Suh ask how Korean American identity might be grounded in religion, she goes on to examine the implications of this grounding when the religious tradition is considered to be socially marginal.

How are Buddhists and Buddhism represented in contemporary films? Are these mediated sources accurate representations of the Buddhist tradition? What kinds of Buddhisms and Buddhists are missing in these films and why?"Silver Screen Buddha" is the first book to explore the representation of Buddhism, race, and gender in contemporary films directed by both Asian and non-Asian directors. It examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century - from images of Shangri-La in Frank Capra's 1937 "Lost Horizon" to Kim Ki-Duk's 2003 international box office success, "Spring, Summer, Fall, Winter....and Spring." The book helps readers see that representations of Buddhism in Asia and in the West are often fraught with political, gendered, and racist undertones that are missed and overlooked by viewers. "Silver Screen Buddha" also draws significant attention to the ordinary lay Buddhism that is often overlooked in popular film. Readers are introduced to some of the key Buddhist texts and doctrines that are implied in Buddhist films yet not explicitly explained, helping them to ascertain the difference between a fictionalized, commodified, and exoticized Buddhism and a more realistic representation of the tradition that includes the laity and, in particular, women and Asian/Asian Americans. The book also engages in a reimagining of Buddhism that expands the popular understanding of Buddhism as the realm of meditating monks and nuns to include an everyday lay Buddhism.