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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 Hollywood Cinema 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

in The power of vulnerability
Katariina Kyrölä

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 Hollywood cinema 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

in The power of vulnerability
Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

). 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 Hollywood Cinema 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

in The power of vulnerability