Celine ParreÑas Shimizu is Dean of the Arts and Distinguished Professor of Film and Digital Media at the University of California, Santa Cruz. She is author of The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, also published by Duke University Press. Her films include The Celine Archive and 80 Years Later (Women Make Movies).

“The relative absence of Asian Americans on the silver screen makes their representation something we cannot not want. In this profound and personal meditation, Celine ParreÑas Shimizu cautions us not to assume that representation and belonging go hand in hand. Instead, she analyzes depictions of childhood in Asian American cinema as occasions for working through the psychic traumas that overdetermine our social attachments from the very moment we are born into a world of racial loss and grief.” - David L. Eng, coauthor of (Racial Melancholia, Racial Dissociation: On the Social and Psychic Lives of Asian Americans) “The Movies of Racial Childhoods is like nothing I have ever read. It is a document of a mother grieving, a film scholar theorizing the healing work of narrative cinema, and a filmmaker who understands that ‘trauma demands representation so as to create new realities.’ Celine ParreÑas Shimizu’s writing about the death of her child and her devotion to film is both tender and revelatory. Interweaving psychoanalysis, Asian American studies, trauma theory, cinema studies, and personal narrative, Shimizu cultivates space for us to collectively grieve and to reawaken the possibilities of childhood dreaming.” - Nicole R. Fleetwood, author of (Marking Time: Art in the Age of Mass Incarceration) "[Celine ParreÑas Shimizu] uses psychoanalytic approaches to cinema in exploring the alienation and joy felt by Asian American youth especially in terms of race and gender. These conflicts overlap with the youth’s simultaneous infantilization, sexualization, and adultification. Shimizu explores representations of childhood, race, gender, and sexuality as a mode of empowerment towards self-reflection and attunement in cinema and child-rearing both." - Gaby Messino (UC Santa Cruz) "The movies of racial childhoods... is a poignant, keen, emotional, and moving interpretation, analysis, and dissection of the intersectional cultural complexes of Asian/America racial childhoods and young adults who navigate the mourning of death, parental absence, parental deportation, poverty, race, gender, gender expression, queer gender, age, sexuality, religion, immigrant border crossings, and acculturation stresses in Asian independent and Asian/America mainstream films." - Theodoric Manley (Ethnic and Racial Studies)

• Preface. Devastated Creator: Theorizing as Grieving Mother-Author-Spectator  ixAcknowledgments  xixIntroduction: Agents of Our Own Lives, Centers of Our Own Stories  11. A Deluge of Delusions and Lies: Race, Sex, and Class in American Crime Story: The Assassination of Gianni Versace  412. The Inner Life of Cinema and Selfobjects: Queer Asian American Youth in Spa Night and Driveways  813. Adolescent Curiosity and Mourning: The Blossoming of Maximo Oliveros  1174. The Courage to Compose Oneself: Healthy Narcissim and Self-Sovereignty in Yellow Rose  1515. The Unexpected and the Unforeseen: Cultural Complexes in The Half of It  186In Closing: The Power of Films about Racial Childhoods in the Time of Rampant Death  208Notes  213Bibliography  223Index  233

Celine ParreÑas Shimizu is Dean of the Arts and Distinguished Professor of Film and Digital Media at the University of California, Santa Cruz. She is author of The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, also published by Duke University Press. Her films include The Celine Archive and 80 Years Later (Women Make Movies).

“The relative absence of Asian Americans on the silver screen makes their representation something we cannot not want. In this profound and personal meditation, Celine ParreÑas Shimizu cautions us not to assume that representation and belonging go hand in hand. Instead, she analyzes depictions of childhood in Asian American cinema as occasions for working through the psychic traumas that overdetermine our social attachments from the very moment we are born into a world of racial loss and grief.” - David L. Eng, coauthor of (Racial Melancholia, Racial Dissociation: On the Social and Psychic Lives of Asian Americans) “The Movies of Racial Childhoods is like nothing I have ever read. It is a document of a mother grieving, a film scholar theorizing the healing work of narrative cinema, and a filmmaker who understands that ‘trauma demands representation so as to create new realities.’ Celine ParreÑas Shimizu’s writing about the death of her child and her devotion to film is both tender and revelatory. Interweaving psychoanalysis, Asian American studies, trauma theory, cinema studies, and personal narrative, Shimizu cultivates space for us to collectively grieve and to reawaken the possibilities of childhood dreaming.” - Nicole R. Fleetwood, author of (Marking Time: Art in the Age of Mass Incarceration) "[Celine ParreÑas Shimizu] uses psychoanalytic approaches to cinema in exploring the alienation and joy felt by Asian American youth especially in terms of race and gender. These conflicts overlap with the youth’s simultaneous infantilization, sexualization, and adultification. Shimizu explores representations of childhood, race, gender, and sexuality as a mode of empowerment towards self-reflection and attunement in cinema and child-rearing both." - Gaby Messino (UC Santa Cruz) "The movies of racial childhoods... is a poignant, keen, emotional, and moving interpretation, analysis, and dissection of the intersectional cultural complexes of Asian/America racial childhoods and young adults who navigate the mourning of death, parental absence, parental deportation, poverty, race, gender, gender expression, queer gender, age, sexuality, religion, immigrant border crossings, and acculturation stresses in Asian independent and Asian/America mainstream films." - Theodoric Manley (Ethnic and Racial Studies)

• Preface. Devastated Creator: Theorizing as Grieving Mother-Author-Spectator  ixAcknowledgments  xixIntroduction: Agents of Our Own Lives, Centers of Our Own Stories  11. A Deluge of Delusions and Lies: Race, Sex, and Class in American Crime Story: The Assassination of Gianni Versace  412. The Inner Life of Cinema and Selfobjects: Queer Asian American Youth in Spa Night and Driveways  813. Adolescent Curiosity and Mourning: The Blossoming of Maximo Oliveros  1174. The Courage to Compose Oneself: Healthy Narcissim and Self-Sovereignty in Yellow Rose  1515. The Unexpected and the Unforeseen: Cultural Complexes in The Half of It  186In Closing: The Power of Films about Racial Childhoods in the Time of Rampant Death  208Notes  213Bibliography  223Index  233

Celine ParreÑas Shimizu is Dean of the Arts and Distinguished Professor of Film and Digital Media at the University of California, Santa Cruz. She is author of The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, also published by Duke University Press. Her films include The Celine Archive and 80 Years Later (Women Make Movies).

“The relative absence of Asian Americans on the silver screen makes their representation something we cannot not want. In this profound and personal meditation, Celine ParreÑas Shimizu cautions us not to assume that representation and belonging go hand in hand. Instead, she analyzes depictions of childhood in Asian American cinema as occasions for working through the psychic traumas that overdetermine our social attachments from the very moment we are born into a world of racial loss and grief.” - David L. Eng, coauthor of (Racial Melancholia, Racial Dissociation: On the Social and Psychic Lives of Asian Americans) “The Movies of Racial Childhoods is like nothing I have ever read. It is a document of a mother grieving, a film scholar theorizing the healing work of narrative cinema, and a filmmaker who understands that ‘trauma demands representation so as to create new realities.’ Celine ParreÑas Shimizu’s writing about the death of her child and her devotion to film is both tender and revelatory. Interweaving psychoanalysis, Asian American studies, trauma theory, cinema studies, and personal narrative, Shimizu cultivates space for us to collectively grieve and to reawaken the possibilities of childhood dreaming.” - Nicole R. Fleetwood, author of (Marking Time: Art in the Age of Mass Incarceration) "[Celine ParreÑas Shimizu] uses psychoanalytic approaches to cinema in exploring the alienation and joy felt by Asian American youth especially in terms of race and gender. These conflicts overlap with the youth’s simultaneous infantilization, sexualization, and adultification. Shimizu explores representations of childhood, race, gender, and sexuality as a mode of empowerment towards self-reflection and attunement in cinema and child-rearing both." - Gaby Messino (UC Santa Cruz) "The movies of racial childhoods... is a poignant, keen, emotional, and moving interpretation, analysis, and dissection of the intersectional cultural complexes of Asian/America racial childhoods and young adults who navigate the mourning of death, parental absence, parental deportation, poverty, race, gender, gender expression, queer gender, age, sexuality, religion, immigrant border crossings, and acculturation stresses in Asian independent and Asian/America mainstream films." - Theodoric Manley (Ethnic and Racial Studies)

• Preface. Devastated Creator: Theorizing as Grieving Mother-Author-Spectator  ixAcknowledgments  xixIntroduction: Agents of Our Own Lives, Centers of Our Own Stories  11. A Deluge of Delusions and Lies: Race, Sex, and Class in American Crime Story: The Assassination of Gianni Versace  412. The Inner Life of Cinema and Selfobjects: Queer Asian American Youth in Spa Night and Driveways  813. Adolescent Curiosity and Mourning: The Blossoming of Maximo Oliveros  1174. The Courage to Compose Oneself: Healthy Narcissim and Self-Sovereignty in Yellow Rose  1515. The Unexpected and the Unforeseen: Cultural Complexes in The Half of It  186In Closing: The Power of Films about Racial Childhoods in the Time of Rampant Death  208Notes  213Bibliography  223Index  233