By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly individuals operating in Asian American stories, English, anthropology, sociology, and paintings heritage. they give thought to problems with cultural authenticity raised by way of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. adolescence tradition, and the move of Vietnamese tune sort indicates. They study the connection among chinese language eating places and American tradition, problems with sexuality and race dropped at the fore within the video functionality artwork 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 display the significance of scholarly engagement with pop culture. Taking pop culture heavily unearths how humans think and show their affective relationships to heritage, identification, 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
At these moments the balance of the strange and the familiar is uncertain, and the Introduction 29 encounter is rife with suspicion, excitement, terror, and joy. In choosing the name Alien Encounters, we propose that popular culture holds out some very familiar and tired narratives but also new and exciting promises. With this collection, we hope to show that Asian Americans’ meeting with the popular has been, and continues to be, one of fascination and worry—an experience of a√ective intensity and political complexity, of expressive pleasure and deep ambivalence, that in any case has irrevocably transformed our imaginations.
These artists may be quick to list inspiring artists such as Public Enemy, Boogie Down Productions, and Queen Latifah— the so-called conscious artists of the late 1980s and early 1990s known for their outspoken social agenda. However, very few of them talk about being inspired by the music of hip hop or by the aesthetics of its language and delivery. In other words, this cadre of artists tended to treat hip hop as a means to tap media access. In the process, they often favored the rhetoric of the medium over its aesthetics.
Just as the cinematic apparatus transformed the popular idiom in the early 26 Nguyen and Tu twentieth century, the last few decades have been marked by changes to the culture industries wrought by new media technologies. The 1970s videocassette recorder (vcr) revolution ushered in the death of the porn theater and its semipublic space of erotic exchanges. Television, as an organizer of both private and public spaces, was transformed when cable and satellite subscriptions introduced narrowcasting, beginning with mtv but extending to the International Channel and local cable access stations, both of which bring a variety of programs and ﬁlms from diasporic and ‘‘homeland’’ stations to migrants abroad.
Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen