Christopher T Fan
Biographic Data
| ID | 828942 |
|---|---|
| NAME | Christopher T Fan |
| GIVEN NAMES | Christopher T |
| FAMILY NAME | Fan |
| SIGNATURE | FAN C T |
| AFFILIATIONS | University of California, Irvine |
| ORCID | 0000-0002-0823-8289 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Uncertain Fictional Objects
The trope of formal rupture in the films of sixth-generation Chinese filmmaker Jia Zhangke is a key site where ethnography and fictionality merge. Situated in Jia's documentary-like aesthetic and oriented to a non-Chinese global art cinema audience, "uncertain fictional objects" are tasked with a great deal of mediating labor. They ultimately tell us not only about Jia's rural and upwardly mobile characters but also the cognitive leaps they and J…
Battle Hymn of the Afropolitan: Sino-African Futures in Ghana Must Go and Americanah
This article argues that a China-directed Orientalism infuses the political unconscious of recent fiction by “Afropolitan” writers. Focusing on Chimamanda Ngozi Adichie’s Americanah and Taiye Selasi’s Ghana Must Go, this article demonstrates that crises of national economic development compel Afropolitan characters to self-Orientalize. Unable to rely on the stability of their home countries’ economies, and unwilling to endure the racism of the Un…
Animacy at the End of History in Changrae Lee's On Such a Full Sea
This essay examines how dystopian depictions of US-China interdependency speculate on the material and aesthetic consequences of China’s rise, which, of late, have been articulated-though rarely explicitly-as “capitalist realism”: a belief in the impossibility of imagining alternatives to capitalism at the end of history. I focus on Changrae Lee’s 2014 novel On Such a Full Sea, arguing that it stages a pragmatic acceptance of China’s rise through…
Techno-Orientalism with Chinese Characteristics: Maureen F. McHugh’s China Mountain Zhang
Christopher T. Fan argues that McHugh’s award-winning 1992 science fiction novel perceives the twilight of the American Century by offering a “critical realism,” to use Georg Lukács’s phrase, of postsocialist US–China interdependency. In other words, it offers a form in which we perceive ourselves as subjects and objects of the twenty-first century world-system’s most important bilateral relationship. Moreover, as a novel about US–China interdepe…
Animacy at the End of History in Changrae Lee's On Such a Full Sea
This essay examines how dystopian depictions of US-China interdependency speculate on the material and aesthetic consequences of China’s rise, which, of late, have been articulated-though rarely explicitly-as “capitalist realism”: a belief in the impossibility of imagining alternatives to capitalism at the end of history. I focus on Changrae Lee’s 2014 novel On Such a Full Sea, arguing that it stages a pragmatic acceptance of China’s rise through…
Uncertain Fictional Objects
The trope of formal rupture in the films of sixth-generation Chinese filmmaker Jia Zhangke is a key site where ethnography and fictionality merge. Situated in Jia's documentary-like aesthetic and oriented to a non-Chinese global art cinema audience, "uncertain fictional objects" are tasked with a great deal of mediating labor. They ultimately tell us not only about Jia's rural and upwardly mobile characters but also the cognitive leaps they and J…
Techno-Orientalism with Chinese Characteristics: Maureen F. McHugh’s China Mountain Zhang
Christopher T. Fan argues that McHugh’s award-winning 1992 science fiction novel perceives the twilight of the American Century by offering a “critical realism,” to use Georg Lukács’s phrase, of postsocialist US–China interdependency. In other words, it offers a form in which we perceive ourselves as subjects and objects of the twenty-first century world-system’s most important bilateral relationship. Moreover, as a novel about US–China interdepe…
Battle Hymn of the Afropolitan: Sino-African Futures in Ghana Must Go and Americanah
This article argues that a China-directed Orientalism infuses the political unconscious of recent fiction by “Afropolitan” writers. Focusing on Chimamanda Ngozi Adichie’s Americanah and Taiye Selasi’s Ghana Must Go, this article demonstrates that crises of national economic development compel Afropolitan characters to self-Orientalize. Unable to rely on the stability of their home countries’ economies, and unwilling to endure the racism of the Un…
Techno-Orientalism with Chinese Characteristics: Maureen F. McHugh’s China Mountain Zhang
Christopher T. Fan argues that McHugh’s award-winning 1992 science fiction novel perceives the twilight of the American Century by offering a “critical realism,” to use Georg Lukács’s phrase, of postsocialist US–China interdependency. In other words, it offers a form in which we perceive ourselves as subjects and objects of the twenty-first century world-system’s most important bilateral relationship. Moreover, as a novel about US–China interdepe…
Battle Hymn of the Afropolitan: Sino-African Futures in Ghana Must Go and Americanah
This article argues that a China-directed Orientalism infuses the political unconscious of recent fiction by “Afropolitan” writers. Focusing on Chimamanda Ngozi Adichie’s Americanah and Taiye Selasi’s Ghana Must Go, this article demonstrates that crises of national economic development compel Afropolitan characters to self-Orientalize. Unable to rely on the stability of their home countries’ economies, and unwilling to endure the racism of the Un…
Animacy at the End of History in Changrae Lee's On Such a Full Sea
This essay examines how dystopian depictions of US-China interdependency speculate on the material and aesthetic consequences of China’s rise, which, of late, have been articulated-though rarely explicitly-as “capitalist realism”: a belief in the impossibility of imagining alternatives to capitalism at the end of history. I focus on Changrae Lee’s 2014 novel On Such a Full Sea, arguing that it stages a pragmatic acceptance of China’s rise through…
Uncertain Fictional Objects
The trope of formal rupture in the films of sixth-generation Chinese filmmaker Jia Zhangke is a key site where ethnography and fictionality merge. Situated in Jia's documentary-like aesthetic and oriented to a non-Chinese global art cinema audience, "uncertain fictional objects" are tasked with a great deal of mediating labor. They ultimately tell us not only about Jia's rural and upwardly mobile characters but also the cognitive leaps they and J…
Art (4 works) · History (4 works) · History (4 works) · Law (4 works) · Law (4 works) · Literature (4 works) · Political science (4 works) · Sociology (4 works) · Aesthetics (3 works) · Politics (3 works)