Her body belongs to her nation? A feminist reading of recent Chinese and American female spy films

References

• Ayers, Drew. 2008. “Bodies, Bullets, and Bad Guys: Elements of the Hardbody Film.” Film Criticism 32 (3): 41–67.
   Web of Science ®Google Scholar
• Barlow, Tani E. 1994. “Theorizing Woman: Funü, Guojia, Jiating.” In Body, Subject, and Power in China, edited by Angela Zito and Tani E. Barlow, 253–290. Chicago: University of Chicago Press.
   Google Scholar
• Bennett, Tony, and Janet Woollacott. 1987. Bond and Beyond: The Political Career of a Popular Hero. London: Macmillan Education.
   Google Scholar
• Berry, Chris. 1988. “Chinese New ‘Women’s Cinema.’.” Camera Obscura 6 (3): 8–19. doi:10.1215/02705346-6-3_18-8.
   Google Scholar
• Berry, Chris. 2013. “The Chinese Woman Doubled: An Essay in Memory of Paul Willemen (1944–2012).” Inter-Asia Cultural Studies 14 (1): 14–25. doi:10.1080/14649373.2013.745969.
   Web of Science ®Google Scholar
• Berry, Chris, and Mary Farquhar. 2006. China on Screen: Cinema and Nation. New York: Columbia University Press.
   Google Scholar
• Brady, Miranda J. 2009. “The Well-Tempered Spy: Family, Nation, and the Female Secret Agent in Alias.” In Secret Agents: Popular Icons beyond James Bond, edited by Jeremy Packer, 111–131. New York: Peter Lang Publishing.
   Google Scholar
• Braidotti, Rosi. 1993. “Embodiment, Sexual Difference, and the Nomadic Subject.” Hypatia 8 (1): 1–13. doi:10.1111/j.1527-2001.1993.tb00625.x.
   Google Scholar
• Braidotti, Rosi. 2006. Transpositions: On Nomadic Ethics. Cambridge: Polity.
   Google Scholar
• Braidotti, Rosi. 2011. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York: Columbia University Press.
   Google Scholar
• Brown, Jeffrey A. 2011. Dangerous Curves: Action Heroines, Gender, Fetishism, and Popular Culture. Jackson, Mississippi: University Press of Mississippi.
   Google Scholar
• Chen, Xiaomei. 2002. Acting the Right Part: Political Theater and Popular Drama in Contemporary China. Honolulu: University of Hawaii Press.
   Google Scholar
• Cornelious, Deborah 2018. “‘Red Sparrow’ Review: Russian Bashing Done Wrong.” The Hindu. Access March 2. https://www.thehindu.com/entertainment/movies/red-sparrow-review-russian-bashing-done-wrong/article22909900.ece
   Google Scholar
• Dai, Jin-hua. 2002. “Gender and Narration: Women in Contemporary Chinese Film.” In Cinema and Desire: Feminist Marxism and Cultural Politics in the Works of Dai Jinhua, edited by Jing Wang and Tani Barlow, 99–151. London: Verso.
   Google Scholar
• Dai, Jin-hua. 2018. After the Post-Cold War: The Future of Chinese History, edited by Lisa Rofel. Durham: Duke University Press.
   Google Scholar
• Edwards, Louise. 2016. Women Warriors and Wartime Spies of China. Cambridge: Cambridge University Press.
   Google Scholar
• Foucault, Michel. 1995. Discipline and Punish: The Birth of the Prison. translated by. Alan Sheridan. New York: Vintage Books
   Google Scholar
• Gill, Rosalind. 2003. “From Sexual Objectification to Sexual Subjectification: The Resexualisation of Women’s Bodies in the Media.” Feminist Media Studies 3 (1): 100–106.
   Google Scholar
• Hou, Kai. 2016. “From Play Wild Rose to Film Spy Number One: The Genre Generations of Chinese Spy Film.” Contemporary Cinema 3: 118–123.
   Google Scholar
• Jie, Yu. 2013. “The Produce and Crisis of Female Image in Chinese Spy Movie in the 21st Century.” Contemporary Cinema 10: 195–197.
   Google Scholar
• Kaplan, E. Ann. 1991. “Problematising Cross-cultural Analysis the Case of Women in the Recent Chinese Cinema.” In Perspectives on Chinese Cinema, edited by Chris Berry, 141–154. London: British Film Institute.
   Google Scholar
• Kaplan, E. Ann. 1997. Looking for the Other: Feminism, Film and the Imperial Gaze. New York: Routledge.
   Google Scholar
• Law, Wing-sang. 2007. Re-theorizing Colonial Power. Hong Kong: Oxford University Press.
   Google Scholar
• Mai, Jia. 2009. “History Is like the Message Delivered from Far: About the Fiction the Message and the Film the Message.” Gong Geng 11: 53–54.
   Google Scholar
• McRobbie, Angela. 2004. “Post-feminism and Popular Culture.” Feminist Media Studies 4 (3): 255–264. doi:10.1080/1468077042000309937.
   Google Scholar
• Meng, Yue. 1993. “Female Images and National Myth.” In Gender Politics in Modern China: Writing and Feminism, edited by Tani E. Barlow, 118–136. Durham and London: Duke University Press.
   Google Scholar
• Miller, Toby. 2003. Spyscreen: Espionage on Film and TV from the 1930s to the 1960s. New York: Oxford University Press.
   Google Scholar
• Mulvey, Laura. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16 (3): 6–18. doi:10.1093/screen/16.3.6.
   Google Scholar
• Reed, Rex 2018. “‘Red Sparrow’ Really Makes You Question Jennifer Lawrence’s Career Choices.” Observer. Access 8 March 2018. https://observer.com/2018/03/review-jennifer-lawrence-and-joel-edgerton-fizzle-in-red-sparrow/
   Google Scholar
• Roberts, Rosemary A. 2010. “Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976).” Leiden; Boston: Brill.
   Google Scholar
• Rodó-Zárate, Maria. 2020. “Gender, Nation, and Situated Intersectionality: The Case of Catalan Pro-independence Feminism.” Politics & Gender 16 (2): 608–636. doi:10.1017/S1743923X19000035.
   Web of Science ®Google Scholar
• Savran, David. 1998. Taking It like a Man: White Masculinity, and Contemporary American Culture. Princeton: Princeton University Press.
   Google Scholar
• Sina News. 2014. “Mai Jia: President Xi Told Me Many Spy Series Did Not Respect the History.” Access 17 October 2014. http://news.sina.com.cn/o/2014-10-17/065931002761.shtml
   Google Scholar
• Smith, Adrian. 2021. “International Sexpionage! European Popular Film on Sixties British Cinema Screens.” Contemporary British History 35 (3): 340–364. doi:10.1080/13619462.2021.1925547.
   Web of Science ®Google Scholar
• White, Rosie. 2007. Violent Femmes: Women as Spies in Popular Culture. London: Routledge.
   Google Scholar
• Xu, Ya-ning, and Fan Xue. 2015. “On Female Body Consumption behind the Revolutionary Narration—An Analysis of Torture Scenes in the Film the Message.” Journal of Xi’an University (Social Sciences Edition) 18 (4): 1–5.
   Google Scholar
• Yang, Fan. 2020. “Post-feminism and Chick Flicks in China: Subjects, Discursive Origin and New Gender Norms.” Feminist Media Studies 1–16. doi:10.1080/14680777.2020.1791928.
   Web of Science ®Google Scholar
• Yau, Esther C. M. 1989. “Cultural and Economic Dislocations: Filmic Phantasies of Chinese Women in the 1980s.” Wide Angle 11 (2): 6–21.
   Google Scholar
• Yong, Xu, and Wang Bing-bing. 2011. “The Analysis on the Spy Movie Hot.” Contemporary Cinema 5: 88–91.
   Google Scholar
• Zhou, Xiao-lan. 2020. “Boosting China’s Film Production: An Assessment of the Subsidies for China’s ‘Mainstream Films’.” Global Policy 11 (S2): 56–64. doi:10.1111/1758-5899.12831.
   Google Scholar