The words "Asian American film” might evoke a painfully earnest, low-budget documentary or family drama, destined to be seen only in small film festivals or on PBS. In her groundbreaking study of the past fifty years of Asian American film and video, Jun Okada demonstrates that although this stereotype is not entirely unfounded, a remarkably diverse range of Asian American filmmaking has emerged.

Acknowledgments

Introduction: The Shared History of Asian American Film and Video and Public Interest Media

Chapter 1: “Noble and Uplifting and Boring as Hell”: Asian American Film and Video, 1971–1982

Chapter 2: The Center for Asian American Media and the Televisual Public Sphere

Chapter 3: Pathology as Authenticity: ITVS, Terminal USA, and the Televisual Struggle Over Positive/Negative Images

Chapter 4: Dismembered from History: The Counternostalgia of Gregg Araki

Chapter 5: Better Luck Tomorrow and the Transnational Reframing of Asian American Film and Video

Chapter 6: Post–Asian American Feature Film: The Persistence of Institutionality in Finishing the Game: The Search for a New Bruce Lee and American Zombie

Afterword

Notes

Bibliography

Index