Abstract
This essay reads three films across Ang Lee's eclectic oeuvre—The Wedding Banquet (1993), Hulk (2003), and Gemini Man (2019)—in terms of the director's ongoing experimentations with melodrama. In particular, Lee's film melodramas self-consciously dramatize the visualization and externalization of affective interiority. Whereas Lee's early Taiwanese American family melodramas (The Wedding Banquet) externalize diasporic interiority of Taiwanese bodies through forms of analog technology, his later CGI Hollywood melodramas (Hulk; Gemini Man) externalize this interiority through digitally manipulated bodies. In Lee's CGI melodramas, it is precisely the way bodies are under- or even un-marked—both indexically and racially—that allows them to typify not simply a national but a more global generic subject.
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