Andrew Grossman is the editor of the anthology Queer Asian Cinema: Shadows in the Shade (2001), a columnist for PopMatters, and a contributor to The New Dictionary of the History of Ideas. He has contributed book chapters to numerous anthologies, including Film and Literary Modernism (2013), Asexualities: Feminist and Queer Perspectives (2014), The Directory of World Cinema: China, Vol. 2 (2014), Movies in the Age of Obama: The Era of Post-Racial and Neo-Racist Cinema (2014), and Transnational Chinese Cinema: Corporeality, Desire, and Ethics (2014). He has also contributed to The Pink Book: The Japanese Eroduction and Its Contexts (ed. Abé Markus Nornes), which can be freely downloaded at http://kinemaclub.org/pink-book-japanese-eroduction-and-its-contexts.
Feminism adrift in a sea of ogling orientalism, global capitalism, and fatalist aesthetics INTRODUCTION Chinese Women’s Issues Under the Polar Aesthetics of Female Suffering and Mulan-ism Since the 1919 May[…]
Truly subversive or mere cinematic “seasoning,” in the director’s own phrase? I am the first to admit that Oshima Nagisa’s Gohatto (1999, more literally “Against the Law,” but titillatingly translated[…]