미국 무성 영화 시대의 아시아인 재현에 대한 고찰: <속임수>와 <흩어진 꽃잎>을 중심으로
Representations of Asians in Early American Silent Cinema: On The Cheat and The Broken Blossoms or the Yellow Man and the Girl
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This paper examines two early American silent films featuring Asian characters produced in the 1910s, The Cheat and The Broken Blossoms. Directed by two masters of American film history, Cecil B. Demille and D. W. Griffith respectively, each film can be considered to have been innovative to position Asian characters in the center of the narrative when racism was prevalent in the social milieu of America. To reach more complex historical meanings of these two films, the paper first focuses on the specific cinematic strategy of the racial representation in these films, and also looks at the relationship that these films establish with Asian immigrants in American society in the early twentieth century. In investigating such aspects, I propose "race as an attraction," borrowing from Tom Gunning's "cinema of attractions," as an analytic framework to explain the specific representational strategy. At the same time, Miriam Hansen's idea of cinema as an "alternative public sphere" is reexamined in the unique Asian context in Hollywood.
Abstract
This paper examines two early American silent films featuring Asian characters produced in the 1910s, The Cheat and The Broken Blossoms. Directed by two masters of American film history, Cecil B. Demille and D. W. Griffith respectively, each film can be considered to have been innovative to position Asian characters in the center of the narrative when racism was prevalent in the social milieu of America. To reach more complex historical meanings of these two films, the paper first focuses on the specific cinematic strategy of the racial representation in these films, and also looks at the relationship that these films establish with Asian immigrants in American society in the early twentieth century. In investigating such aspects, I propose "race as an attraction," borrowing from Tom Gunning's "cinema of attractions," as an analytic framework to explain the specific representational strategy. At the same time, Miriam Hansen's idea of cinema as an "alternative public sphere" is reexamined in the unique Asian context in Hollywood.
참고문헌 (11)
- Andrew, Dudley, "Broken Blossoms: The Art and the Eros of a Perverse Text", Quarterly Review of Film and Video, 6(1), pp.81~90 (1981)
- Gunning, Tom, ""The Cinema of Attractions: Early Films, Its Spectator and the Avant-Garde." Early Cinema: Space, Frame, Narrative" (1990), BFI
- Hansen, Miriam, "Babel and Babylon: Spectatorship in American Silent Film" (1991), Harvard UP
- Kepley Jr., "Griffith's "Broken Blossoms" and the Problem of Historical Specificity.", Quarterly Review of Film and Video, 3(1), pp.37~47 (1978)
- Kim, Elain, "Race. Gender, and Hollywood Asians, 1984-2004", Journal of American Stduies, 38(1), pp.103~131 (2004)
- Koshy, Susan, "American Nationhood as Eugenic Romance", Difference: A Journal of Feminist Cultural Studies, 12(1), pp.50~78 (2001)
- Marchetti, Gina, "Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction" (1993), LA, and London: U of California Press
- Mast, Gerald, "A Short History of the Movies" (2006), Pearson Longman
- Miyao, Daisuke, "Sessue Hayakawa: Silent Cinema and Transnational Stardom" (2007), Duke UP
- Okada, Jun, "Marcel L'Herbier's Forfaiture: Photogenie, Race, and Homoerotic Homage in the French Remake of DeMille's The Cheat", Quarterly Review of Film and Video, 25, pp.368~381 (2008)
- Stamp, Shelley, "Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon" (2000), Princeton UP