The Bind of Representation
Performing and Consuming Hypersexuality in Miss Saigon
Bibliographic Data
| ID | 4877938 |
|---|---|
| Authors | Celine Parreã±as Shimizu, Celine Shimizu (corresponding author) |
| Year | 2005 |
| Volume | 57 |
| Issue | 2 |
| Pages | 247-265 |
| Publication date | 2005-05-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tj.2005.0079 |
| OpenAlex | W2057667525 |
| Language | EN |
| Citations received | 6 |
| References cited | 4 |
This essay evaluates the predominance of race panic logic when addressing Asian female hypersexuality in representation in order to counter the equation of hypersexuality as racist, antifeminist and anti-Asian American. Both authorial and spectatorial encounters in later productions of the musical Miss Saigon (1989) describe a multifaceted dynamic of bondage within terms of injury and pleasure, in relations spurred by hypersexual representations. My study forges a theory of representation that accounts for the bind of being an Asian American actress and an Asian American female spectator, especially in encountering the production of hypersexuality for Asian women
Aesthetics · Art · Hypersexuality · Pleasure · Political science · Psychotherapist · Representation (politics · Sexual behavior · Sociology · Gender Studies · Gender, Feminism, and Media · History · Media Studies and Communication · Music History and Culture · Psychology · Social Psychology
| Unique citing works | 6 |
|---|---|
| Citations per year | 0,32 |
| Citation span | 2007 - 2021 (15) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 6 |