Explore many generations of Chinese-American history with this captivating collection of 5 paper dolls and 26 costumes for male and female dolls of all ages. Included are outfits for work, leisure, and formal occasions and a play scene on inside covers.

“Enlightening, nuanced, and honest.”—Lisa See Set against the glittering backdrop of Los Angeles during the gin-soaked Jazz Age and the rise of Hollywood, this debut book celebrates Anna May Wong, the first Asian American movie star, to bring an unsung heroine to light and reclaim her place in cinema history. One of Autostraddle's Most Anticipated Queer Books for Spring 2024 Before Constance Wu, Sandra Oh, Awkwafina, or Lucy Liu, there was Anna May Wong. In her time, she was a legendary beauty, witty conversationalist, and fashion icon. Plucked from her family’s laundry business in Los Angeles, Anna May Wong rose to stardom in Douglas Fairbanks’s blockbuster The Thief of Bagdad. Fans and the press clamored to see more of this unlikely actress, but when Hollywood repeatedly cast her in stereotypical roles, she headed abroad in protest. Anna May starred in acclaimed films in Berlin, Paris, and London. She dazzled royalty and heads of state across several nations, leaving trails of suitors in her wake. She returned to challenge Hollywood at its own game by speaking out about the industry’s blatant racism. She used her new stature to move away from her typecasting as the China doll or dragon lady, and worked to reshape Asian American representation in film. Filled with stories of capricious directors and admiring costars, glamorous parties and far-flung love affairs, Not Your China Doll showcases the vibrant, radical life of a groundbreaking artist.

Examines how popular culture during the Great Depression and later during the Second World War influenced the lives of women.

This generous, representative sampling from the daybooks of Carl Van Vechten, one of the most significant figures of the Harlem Renaissance, is a rich resource and major reference tool for reconstructing the culture of 1920s New York, the social milieu during Prohibition, and more. Bruce Kellner has provided copious, informative notes identifying central figures and clarifying details.Between 1922 and 1930, Van Vechten kept a daily record of his activities. Not exactly diaries, but more than appointment books, the daybooks record his daily comings and goings as well as the alliances, drinking habits, feuds, and affairs of a wide number of luminaries of the period. They catalog tales of bootlegging, literary teas, shifting cliques of artists and writers, cabaret slumming, sexual and social peccadilloes, and a seemingly endless sequence of parties.

Typescript, dated copyright April 2005. Lightly marked script used for the Pan Asian Repertory production in the West End Theater, 233 West 86th Street, New York, N.Y., which opened April 2, 2005, directed by Tisa Chang. The play is based on the life and motion picture career of actress Anna May Wong, but it is not entirely factual.

As indelible components of the history of the United States, race and racism have permeated nearly all aspects of life: cultural, economic, political, and social. In this first anthology on race in early cinema, fourteen scholars examine the origins, dynamics, and ramifications of racism and Eurocentrism and the resistance to both during the early years of American motion pictures. Any discussion of racial themes and practices in any arena inevitably begins with the definition of race. Is race an innate and biologically determined "essence" or is it a culturally constructed category? Is the question irrelevant? Perhaps race exists as an ever-changing historical and social formation that, regardless of any standard definition, involves exploitation, degradation, and struggle. In his introduction, Daniel Bernardi writes that "early cinema has been a clear partner in the hegemonic struggle over the meaning of race" and that it was steadfastly aligned with a Eurocentric world view at the expense of those who didn't count as white. The contributors to this work tackle these problems and address such subjects as biological determinism, miscegenation, Manifest Destiny, assimilation, and nativism and their impact on early cinema. Analyses of The Birth of a Nation, Romona, Nanook of the North and Madame Butterfly and the directorial styles of D. W. Griffith, Oscar Micheaux, and Edwin Porter are included in the volume.