Ian Dixon is Associate Professor of Film Nanyang Technological University, Singapore. Kirsty Fairclough is Reader in Screen Studies at the School of Digital Arts (SODA) at ManchesterMetropolitan University, UK. Lisa Gotto is a Professor of Film Theory at the Institute for Theatre, Film and Media Studies (TFM) at University of Vienna, Austria.Angelene Wong earned her PhD at the School of Art, Design and Media at Nanyang Technological University, Singapore. She is the co-author of Fashion, Identity, Image (Bloomsbury 2022).

'Starring Asian Femininities has made an intervention in the field by suggesting multiple approaches and methodologies to investigate Asian female stars and present new femininities in the multi-mediated, capricious age.'

• IntroductionSection One: CorrelationsChapter 1: Modes of Deceptions: The Plasticity of Kyo Machiko, Kimono's Dangerous/Naive Presence in Japanese Film, (Lucile Druet, Kansai Gaidai University, Hirakata, Osaka, Japan)Chapter 2: Heavy Shadowing: Sono Osato and the Japanese Spectre on the American Screen (Angelene Wong, Independent Researcher, Singapore)Chapter 3: Tan Kheng Hua's Way: Acting Chinese/Asian/Singaporean (Nadya Wang)Chapter 4: Chinese Femininity in Huallywood: Branding Jing Tian With Transnational Appeal (Yixuan Feng, University of Liverpool, UK)Section 2: TransformationsChapter 5: ‘Fat Fat’: Lydia Shum as the Most Lovable Hong Kong Comedienne, (Yung-Hang Bruce Lai, King's College, London, UK)Chapter 6: Between the Male Gaze and Female Expression: Chinese comedienne Jia Ling and her film, 'Hi, Mom', (Xiao Yang, University of Macau, China)Chapter 7: Celebrity Contradictions and Borrowed Auras: Iza Calzado (Ian Dixon, Nanyang Technological University, Singapore)Chapter 8: Soft Masculinity, a New Aesthetic and Gender Performance of Tom Identity in Thailand, (Charlin Nukul, Rajamangala University of Technology Thanyaburi, Thailand)Section 3: ReconfigurationsChapter 9: Michelle Yeoh and the Cultivation of an Oscar-Winning Screen Persona, (Andrew Hock Soon Ng, Monash University, Malaysia)Chapter 10: From Occidental Pornstar to Oriental Mistress: The Sexual Re-Orientation of Sunny Leone in Indian Cinema, (Dr. Sony Jalarajan Raj, MacEwan University, Canada, and Mr. Adith K Suresh, MacEwan University, Canada)Chapter 11: Zhang Ziyi as the ‘New Chinese Exotic’, (Deng Bingying, Nanyang Technological University,Singapore)Chapter 12: Sunmi as 'Heroine, Gashina, and Siren': How a Former Member of the K-Pop Group The Wonder Girls Developed 'Sunmi-Pop', (Grace Kao, Yale University, USA) Index

Ian Dixon is Associate Professor of Film Nanyang Technological University, Singapore. Kirsty Fairclough is Reader in Screen Studies at the School of Digital Arts (SODA) at ManchesterMetropolitan University, UK. Lisa Gotto is a Professor of Film Theory at the Institute for Theatre, Film and Media Studies (TFM) at University of Vienna, Austria.Angelene Wong earned her PhD at the School of Art, Design and Media at Nanyang Technological University, Singapore. She is the co-author of Fashion, Identity, Image (Bloomsbury 2022).

'Starring Asian Femininities has made an intervention in the field by suggesting multiple approaches and methodologies to investigate Asian female stars and present new femininities in the multi-mediated, capricious age.'

• IntroductionSection One: CorrelationsChapter 1: Modes of Deceptions: The Plasticity of Kyo Machiko, Kimono's Dangerous/Naive Presence in Japanese Film, (Lucile Druet, Kansai Gaidai University, Hirakata, Osaka, Japan)Chapter 2: Heavy Shadowing: Sono Osato and the Japanese Spectre on the American Screen (Angelene Wong, Independent Researcher, Singapore)Chapter 3: Tan Kheng Hua's Way: Acting Chinese/Asian/Singaporean (Nadya Wang)Chapter 4: Chinese Femininity in Huallywood: Branding Jing Tian With Transnational Appeal (Yixuan Feng, University of Liverpool, UK)Section 2: TransformationsChapter 5: ‘Fat Fat’: Lydia Shum as the Most Lovable Hong Kong Comedienne, (Yung-Hang Bruce Lai, King's College, London, UK)Chapter 6: Between the Male Gaze and Female Expression: Chinese comedienne Jia Ling and her film, 'Hi, Mom', (Xiao Yang, University of Macau, China)Chapter 7: Celebrity Contradictions and Borrowed Auras: Iza Calzado (Ian Dixon, Nanyang Technological University, Singapore)Chapter 8: Soft Masculinity, a New Aesthetic and Gender Performance of Tom Identity in Thailand, (Charlin Nukul, Rajamangala University of Technology Thanyaburi, Thailand)Section 3: ReconfigurationsChapter 9: Michelle Yeoh and the Cultivation of an Oscar-Winning Screen Persona, (Andrew Hock Soon Ng, Monash University, Malaysia)Chapter 10: From Occidental Pornstar to Oriental Mistress: The Sexual Re-Orientation of Sunny Leone in Indian Cinema, (Dr. Sony Jalarajan Raj, MacEwan University, Canada, and Mr. Adith K Suresh, MacEwan University, Canada)Chapter 11: Zhang Ziyi as the ‘New Chinese Exotic’, (Deng Bingying, Nanyang Technological University,Singapore)Chapter 12: Sunmi as 'Heroine, Gashina, and Siren': How a Former Member of the K-Pop Group The Wonder Girls Developed 'Sunmi-Pop', (Grace Kao, Yale University, USA) Index

Ian Dixon is Associate Professor of Film Nanyang Technological University, Singapore. Kirsty Fairclough is Reader in Screen Studies at the School of Digital Arts (SODA) at ManchesterMetropolitan University, UK. Lisa Gotto is a Professor of Film Theory at the Institute for Theatre, Film and Media Studies (TFM) at University of Vienna, Austria.Angelene Wong earned her PhD at the School of Art, Design and Media at Nanyang Technological University, Singapore. She is the co-author of Fashion, Identity, Image (Bloomsbury 2022).

'Starring Asian Femininities has made an intervention in the field by suggesting multiple approaches and methodologies to investigate Asian female stars and present new femininities in the multi-mediated, capricious age.'

• IntroductionSection One: CorrelationsChapter 1: Modes of Deceptions: The Plasticity of Kyo Machiko, Kimono's Dangerous/Naive Presence in Japanese Film, (Lucile Druet, Kansai Gaidai University, Hirakata, Osaka, Japan)Chapter 2: Heavy Shadowing: Sono Osato and the Japanese Spectre on the American Screen (Angelene Wong, Independent Researcher, Singapore)Chapter 3: Tan Kheng Hua's Way: Acting Chinese/Asian/Singaporean (Nadya Wang)Chapter 4: Chinese Femininity in Huallywood: Branding Jing Tian With Transnational Appeal (Yixuan Feng, University of Liverpool, UK)Section 2: TransformationsChapter 5: ‘Fat Fat’: Lydia Shum as the Most Lovable Hong Kong Comedienne, (Yung-Hang Bruce Lai, King's College, London, UK)Chapter 6: Between the Male Gaze and Female Expression: Chinese comedienne Jia Ling and her film, 'Hi, Mom', (Xiao Yang, University of Macau, China)Chapter 7: Celebrity Contradictions and Borrowed Auras: Iza Calzado (Ian Dixon, Nanyang Technological University, Singapore)Chapter 8: Soft Masculinity, a New Aesthetic and Gender Performance of Tom Identity in Thailand, (Charlin Nukul, Rajamangala University of Technology Thanyaburi, Thailand)Section 3: ReconfigurationsChapter 9: Michelle Yeoh and the Cultivation of an Oscar-Winning Screen Persona, (Andrew Hock Soon Ng, Monash University, Malaysia)Chapter 10: From Occidental Pornstar to Oriental Mistress: The Sexual Re-Orientation of Sunny Leone in Indian Cinema, (Dr. Sony Jalarajan Raj, MacEwan University, Canada, and Mr. Adith K Suresh, MacEwan University, Canada)Chapter 11: Zhang Ziyi as the ‘New Chinese Exotic’, (Deng Bingying, Nanyang Technological University,Singapore)Chapter 12: Sunmi as 'Heroine, Gashina, and Siren': How a Former Member of the K-Pop Group The Wonder Girls Developed 'Sunmi-Pop', (Grace Kao, Yale University, USA) Index