The Americanization of Tsuru Aoki: Orientalism, Melodrama, Star Image, and the New Woman

@article{Ross2005TheAO,
  title={The Americanization of Tsuru Aoki: Orientalism, Melodrama, Star Image, and the New Woman},
  author={Sara Ross},
  journal={Camera Obscura},
  year={2005},
  volume={20},
  pages={129-157}
}
7 Citations

References

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Stage Pictorialism and the Early Feature Film (Oxford: Oxford University Press, 1997)
  • See also Roberta Pearson, Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films
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it is their vacillations, their tempting suggestiveness, their capacity for entertaining and confusing the mind, that are interesting” (Said, Orientalism, 41, 58)
  • The sensuality most associated with the Near East could thus be extended to the Far East and to Japanese and Chinese characters. Anna May Wong’s role in Picadilly
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Pantheon, 1978), 187 – 88, 287
  • The most famous Hollywood examples are Theda Bara’s pseudo-Arab vamps in films like A Fool There Was (dir. Frank Powell, US, 1915) and Cleopatra (dir. J. Gordon Edwards, US, 1917), and Rudolph Valentino’s sexually avid sheiks in The Sheik (dir. George Melford, US, 1921) and The Son of the Sheik
  • 1926
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