Chapter 1 Chineseness， Hollywood Discourse and Cinematic Apparatus 1
1．1 The Stereotype and the Hollywood Discourse 6
1．2 Methodology 18
1．3 Structure 25
1．4 Selection 32
Chapter 2 Literature Review 36
2．1 Postcolonialism 36
2．2 Orientalism 41
2．3 Culture ＆ Imperialism 45
2．4 Feminism 50
2．5 Representation 54
2．6 Cine-semiology 58
Chapter 3 The Myth of Violence and the Other “ Chinaman” 65
3．1 Visual Spectacle and the Violent“ Oriental” 70
3．2 The“ Deadly Ballet” and that Legendary Bruce Lee 78
3．3 Comedy Kung Fu and Comical Jackie Chan 97
3．4 Monsters， Aliens， and Trauma on the Transnational Scene 112
3．4．1 Contrasting and Foiling the White Hero 118
3．4．2 Killing Innocent People with Excellent Kung Fu 124
3．4．3 The Ethical ＆ Remediable Killer 130
Chapter 4 Irresistible Seduction and Inscrutable “China Lady” 138
4．1 A Matter of Marginality and “White Supremacist Capitalist Patriarchy” 139
4．2 The “Unbearably Cute but Silly” China Doll 146
4．3 The Externally Arrogant but Internally Fragile “Connie Chueng 158
4．4 The Anti-Orientalist Transvestite“ Seductive Spy” 167
Chapter 5 The Other Speaks： Wayne Wang’s Films in Hollywood Cinema 182
5．1 Chan Is Missing or Chinese Missing 183
5．2 Re-Defining Cultural Identity in Dim Sum： A Little Bit of Heart 186
5．3 Decoding Cultural Connotations in The Joy Luck Club 194
5．4 Conclusion： “Articulating a Voice of Our Own” 199
Chapter 6 Conclusion： “ Can One Know the Other？” 202
Appendix 1 Films with Chinese Male Characters（1960～1999） 207
Appendix 2 Films with Chinese Female Characters（1960～1999） 212
Appendix 3 Important Films about Chineseness（1960～1999） 214
Appendix 4 Movies Relevant to Bruce Lee（1960～1999） 215
Appendix 5 Minor Roles of Chinese in Hollywood Films（1960～1999） 216
References 218