Abstract
This essay evaluates the predominance of race panic logic when addressing Asian female hypersexuality in representation in order to counter the equation of hypersexuality as racist, antifeminist and anti-Asian American. Both authorial and spectatorial encounters in later productions of the musical Miss Saigon (1989) describe a multifaceted dynamic of bondage within terms of injury and pleasure, in relations spurred by hypersexual representations. My study forges a theory of representation that accounts for the bind of being an Asian American actress and an Asian American female spectator, especially in encountering the production of hypersexuality for Asian women.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
