注释
1; 2; 3; 6; 10 Gina Marchetti, Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Holly-wood Fiction (Berkeley: University of California Press, 1993), 6; 41; 44; 49; 115-16.
4 Julia Lesage, "Artful Racism, Artful Rape: Griffith's Broken Blossoms", in Home Is Where the Heart Is: Studies in Melodrama and the Woman's Film, ed. Christine Gledhill (London: BFI, 1987), 239.
5 参见Russell Leong, ed., Moving the Image: Independent Asian Pacific American Media Arts (Los Angeles: UCLA Asian American Studies Center and Visual Communi-cations, Southern California Asian American Studies Central, 1991), 133-43.
7 Richard Oehling, "The Yellow Menace: Asian Images in American Film", in The Kaleidoscopic Lens: How Hollywood Views Ethnic Groups, ed. Randall Miller (Englewood, N.J.: Jerome S. Ozer, 1980), 195-96.
8 Kevin Brownlow, "Sidney Franklin and The Good Earth (MGM, 1937)", Historical Journal of Film, Radio and Television 9, no. 1 (1989): 79-89.
9 参见Yingjin Zhang, Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema (Ann Arbor: Center for Chinese Studies, University of Michigan, 2002), 240-44.
11 参见Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (New York: Routledge, 1995).
12 参见David Palumbo-Liu, Asian/American: Historical Crossings of a Racial Frontier (Stanford: Stanford University Press, 1999).
13 Rey Chow, Ethics after Idealism: Theory, Culture, Ethnicity, Reading (Bloomington: Indiana University Press, 1998), 23.
14 Asuman Suner, "Postmodern Double Cross: Reading David Cronenberg's M. Butterfly as a Horror Story", Cinema Journal 37, no. 2 (Winter 1998): 50.
