By Gina Masequesmay, Sean Metzger
Embodying Asian/American Sexualities is an obtainable reader designed to be used in undergraduate and graduate American reviews, ethnic experiences, gender and sexuality stories, and function stories periods in addition to for a common public drawn to comparable matters. It comprises either overviews of the sphere and scholarly interventions right into a variety of themes, together with background, literature, functionality, and sociology.
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Extra resources for Embodying Asian American Sexualities
She is not the model Korean/American that many in the Asian/American community might wish her to be; instead, she is a queer, outspoken individual who refuses to be silenced. Cho’s choice to utilize autobiography in her work creates an immediacy that is grounded in the personal experiences of the live body the audience sees on stage. It presents the illusion of authenticity by producing a certain kind of truth. This truth is relational, dependent upon the trustworthiness of the autobiographical narrator.
My interest in pornography has waned at that level, because I’ve seen that not much has shifted within pornographic representations, unfortunately. So change what you can change, and have the wisdom to know what you can’t change. I’m waiting for something else to happen before I revisit it again. So there’s a demand for increase in scholarship, and I’m interested in the different directions people are going. But I don’t have that much more to add, though I have students working on pornography and sexual representation, and that’s interesting—to engage with them on their work, which is coming from all different angles.
And in the course of the film the narrative arc works to humiliate them, in a way, to chasten them, to put them in their place. And this is what it does with The Annabel Chong Story, too, in which she makes all these claims she’s doing this out of sexual pleasure, as a kind of feminist practice. She loves, you know, cock up her ass, and all this kind of stuff. And by the end of the film she comes off as pathetic. 32 Anjali Arondekar, Richard Fung, and Sylvia Chong The climax or turning point is where you see her slashing her hands; she revisits the site of her rape in London.
Embodying Asian American Sexualities by Gina Masequesmay, Sean Metzger