Takeshi Kaneshiro’s Sichuan Accent (Wu Xia Press Conference Pt 4). I’m Too Pretty for My Career, Says Takeshi. 2011, WU XIA-SentieriSelvaggi meets Peter Ho-sun Chan. ‘Passing’ as (Non)Ethnic: The Israeli Version of Acting White. Review: ‘Red Cliff’ Restores Credibility of Chinese Epic. Mirroring the Past: The Writing and Use of History in Imperial China. In Manga and the Representation of Japanese History, ed.
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The Adaptation of Chinese History into Japanese Popular Culture: A Study of Japanese Manga, Animated Series and Video Games Based on The Romance of the Three Kingdoms. Sichuanese: Just a Dialect of Mandarin or a Language in Its Own Right? collectanea linguistica. The Negative Transfer of Sichuan Dialect to the Study of English Pronunciation-Error Analysis on the Supra-segmental Phonemes. Why Is a Dialect Respected - Sichuanese as a Case. Chinese Stardom in Participatory Cyberculture. Wayne State University Press: Detroit, MI. In Star Texts: Image and Performance in Film and Television, ed. When Social Community Sees the Advertising World, Quality and Content Resonate~ I See You. How I Would Have Written the Ending to Peter Chan’s Wu Xia. John Woo’s Red Cliff II Storms Japanese Box Office. Takeshi Kaneshiro (Interview in English) 1999. Language and Literature 10 (4): 371–374.įunkSoulBrother3.
YouTube video, 3:00, December 31.įorceville, Charles. I SEE YOU Change the Way You See the World. Oxford: Oxford University Press.ĭrake, Kate. Business Next, March 1: 78–108.ĬNN Talk Asia. Xinxiao Jin Chengwu (Marketing Takeshi Kaneshiro). Pressreader, July 23.Ĭhian, Chin-chou, and Shou, Zuyi. Research in Drama Education: The Journal of Applied Theatre and Performance 16 (4): 541–556.Ĭhew, Wan Ying. Shakespeare as a Second Language: Playfulness, Power and Pedagogy in the ESL Classroom. , October 30.Ĭheng, Astrid, and Joe Winston. Report from the “Red Cliff” press conference. “The Legend of the Three Kingdoms”, Bridging Japan and China. Minneapolis: University of Minnesota Press.Ī. Hong Kong: Culture and the Politics of Disappearance. I follow the trend in sociolinguistic studies in this book.Ībbas, M.A. Although socially and culturally Sichuanese is likely to be recognized as a language, supported by the fact the regular code-switching of Sichuanese people between Sichuanese and Standard Mandarin, many scholars and critics situate Sichuanese as a dialect (Hsu 2008 Ma and Tan 2013 McKeon 2017). In addition to its relatively short history, Sichuanese could be regarded to be a dialect of Mandarin. Moreover, it has a mixture of northern and southern characteristics in pronunciation (Liu 2014). Linguistically, most words are phonologically similar or even identical to their Mandarin counterparts, except for the tone. Sichuanese’s embarrassing status is chiefly due to the shifting definitions of languages and dialects and the disparate political and cultural agendas that influence the use of these labels (McKeon 2017). There have been debates about whether Sichuanese is spoken as a dialect of Mandarin or as a language of its own right. As a result, this analysis sheds light on how his border-crossing identity outlines an Asian imaginary where linguistic and cultural split can be passed or bridged. Furthermore, his apparently proficient Mandarin and Japanese utterances reinforce his mediating role in the Japanese and Chinese popular cultures.
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By concentrating on Kaneshiro’s Cantonese or Mandarin-language films, Japanese TV shows, and advertisements, it argues Kaneshiro’s accented Cantonese and Sichuanese on the Sinophone screens are revealed or strategized, reinventing him as passing not as a native but a legitimate foreigner. Based on the premise that Kaneshiro’s fame draws from his physical charms, this chapter suggests language and accent as new points of departure in examining his crossover image. Positioning half-Taiwanese, half-Japanese Takeshi Kaneshiro as an icon whose star profile has crossed ethnic and linguistic boundaries, this chapter provokes contemplation of what role language, dialect, and accent play in his persona construction in Asian mass cultures.
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