Gina Marchetti serves as Chair of Humanities and Media Studies, Pratt Institute. Her books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (California, 1993) and Citing China: Politics, Postmodernism, and World Cinema (Hawai’i, 2018).

• Acknowledgements, Note on Romanization, 1. Introduction: #MeToo and the Visual Politics of Transnational Chinese Cinema, 2. The Look and the Stare: Looked Over and Overlooked in The Truth About Beauty (2014), My Way (2012), and Unfinished (2013), 3. The Leer and the Glare: Voyeurism and State Surveillance in Hooligan Sparrow (2016) and Angels Wear White (2017), 4. A Glimpse of the Glance: Women Scrutinize Men in Female Directors (2012) and Girls Always Happy (2018), 5. The Queer Gaze Across the Gay-Straight Generational Divide: Small Talk (2017) and A Dog Barking at the Moon (2019), 6. The Alienated Gaze and the Activist Eye: Gender, Class, and Politics in Lotus (2012) and Outcry and Whisper (2020), 7. Oppositional Optics: The View from Hong Kong, 8. From Activism to Exile: Our Youth in Taiwan (2018) and To Singapore, with Love (2013), 9. Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019), 10. Conclusion: The View from the Chinese Diaspora in The Farewell (2019), Filmography, Bibliography, Index.

Gina Marchetti serves as Chair of Humanities and Media Studies, Pratt Institute. Her books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (California, 1993) and Citing China: Politics, Postmodernism, and World Cinema (Hawai’i, 2018).

• Acknowledgements, Note on Romanization, 1. Introduction: #MeToo and the Visual Politics of Transnational Chinese Cinema, 2. The Look and the Stare: Looked Over and Overlooked in The Truth About Beauty (2014), My Way (2012), and Unfinished (2013), 3. The Leer and the Glare: Voyeurism and State Surveillance in Hooligan Sparrow (2016) and Angels Wear White (2017), 4. A Glimpse of the Glance: Women Scrutinize Men in Female Directors (2012) and Girls Always Happy (2018), 5. The Queer Gaze Across the Gay-Straight Generational Divide: Small Talk (2017) and A Dog Barking at the Moon (2019), 6. The Alienated Gaze and the Activist Eye: Gender, Class, and Politics in Lotus (2012) and Outcry and Whisper (2020), 7. Oppositional Optics: The View from Hong Kong, 8. From Activism to Exile: Our Youth in Taiwan (2018) and To Singapore, with Love (2013), 9. Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019), 10. Conclusion: The View from the Chinese Diaspora in The Farewell (2019), Filmography, Bibliography, Index.

Gina Marchetti serves as Chair of Humanities and Media Studies, Pratt Institute. Her books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (California, 1993) and Citing China: Politics, Postmodernism, and World Cinema (Hawai’i, 2018).

• Acknowledgements, Note on Romanization, 1. Introduction: #MeToo and the Visual Politics of Transnational Chinese Cinema, 2. The Look and the Stare: Looked Over and Overlooked in The Truth About Beauty (2014), My Way (2012), and Unfinished (2013), 3. The Leer and the Glare: Voyeurism and State Surveillance in Hooligan Sparrow (2016) and Angels Wear White (2017), 4. A Glimpse of the Glance: Women Scrutinize Men in Female Directors (2012) and Girls Always Happy (2018), 5. The Queer Gaze Across the Gay-Straight Generational Divide: Small Talk (2017) and A Dog Barking at the Moon (2019), 6. The Alienated Gaze and the Activist Eye: Gender, Class, and Politics in Lotus (2012) and Outcry and Whisper (2020), 7. Oppositional Optics: The View from Hong Kong, 8. From Activism to Exile: Our Youth in Taiwan (2018) and To Singapore, with Love (2013), 9. Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019), 10. Conclusion: The View from the Chinese Diaspora in The Farewell (2019), Filmography, Bibliography, Index.