Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg
reproduces the image
of the sexually available, servile South East Asian woman-as-prostitute, a
dominant stereotype of Asian women in HollywoodCinema instated by
iconic performances in Vietnam war films such as Michael Cimino’s The
Deer Hunter (1978) and Stanley Kubrick’s Full Metal Jacket (1987) (Prasso,
2005). In addition to the submissive and hypersexual Thai prostitute, these
young women also come across as another stereotypical image of the third
world woman: the passive, silent victim, whose lack of agency allows the
Western feminist subject to define herself as
necessitate more questioning, careful
contextualisation and collective consideration of why, when and if to warn.
Indeed there was a time when feminist, queer and critical race studies
scholars were much more worried about the treacherousness of pleasure
than about pain and hurt. For example, in the 1980s Mary Ann Doane
(1982) interrogated the ways Hollywoodcinema constructs the female body
as an idealised and pleasurable spectacle. Through a recognition and pull
of similarity, the female spectator has no choice but to over-identify with
the image, unless she fully
). Vulnerability and Human Rights. University Park: Pennsylvania
State University Press.
Tyler, I. (2013). Revolting Subjects: Social Abjection and Resistance in Neoliberal
Britain. London and New York: Zed Books.
Vaittinen, T. (2015). ‘The power of the vulnerable body’, International Journal of
Politics, 17:1, pp. 100–18.
White, P. (1999). Uninvited: Classical HollywoodCinema and Lesbian
Representability. Bloomington, IN: Indiana University Press.
Wiegman, R. (2014). ‘The times we’re in: Queer feminist criticism and the reparative
“turn” ’, Feminist Theory, 15:1, pp. 4