This edited volume explores how success is conceptualized and represented in texts for young people in Asia. The essays in this collection examine how success for children relates to education, family, gender, race, class, community, and the nation. It answers the following questions: How is success for children represented in literature, cinema, and popular media? In what ways are these images grounded in the historical, political, and cultural contexts in which they are produced and consumed? How does childhood agency influence ideas about success in Asia? Highlighting the similarities and differences in how success is defined for children and young adults in Japan, South Korea, People’s Republic of China, Singapore, Taiwan, Indonesia, Vietnam, and India, this volume argues that success is an important keyword in the literary and cultural study of childhood in Asia.

The ebook edition of this title is Open Access and freely available to read online. Revising established research, this handbook equips readers with an understanding of the complex interplay between local and global and public and private contexts in the development of young people in Asian countries.

Youth Fiction and Trans Representation is the first book that wholly addresses the growth of trans and gender variant representation in literature, television, and films for children and young adults in the twenty-first century. Ranging across an array of media—including picture books, novels, graphic novels, animated cartoons, and live-action television and feature films—Youth Fiction and Trans Representation examines how youth texts are addressing and contributing to ongoing shifts in understandings of gender in the new millennium. While perhaps once considered inappropriate for youth, and continuing to face backlash, trans and gender variant representation in texts for young people has become more common, which signals changes in understandings of childhood and adolescence, as well as gender expression and identity. Youth Fiction and Trans Representation provides a broad outline of developments in trans and gender variant depictions for young people in the late twentieth and early twenty-first centuries and closely analyzes a series of millennial literary and screen texts to consider how they communicate a range of, often competing, ideas about gender, identity, expression, and embodiment to implied child and adolescent audiences.

This book introduces findings from an international, cross-cultural, and interdisciplinary study of children’s everyday experiences of growing up and going to school in the context of the three global cities of Hong Kong, Singapore and Melbourne. It takes the premise that children’s learning and orientations to educational success are shaped by everyday cultural practices at home and at school, by policy contexts that both produce and respond to educational and cultural norms, and by individual and familial desires and aspirations. Drawing on research conducted with primary school-aged children in Year 4, the book considers how day-to-day routines such as going to school, engaging in extra-curricular activities outside of school, and spending time at home with family intersect with the broader milieus of education policy ideals in a changing and interconnected world. Through a combination of visual methodologies, surveys, ethnographic observations in schools, classrooms and cityscapes, re-enactments of everyday activities with children at home, and sociological education policy analysis, this book shows both the richness of children’s everyday lives and learning in global cities, as well as exploring questions that pose challenges to educational and social norms.

There has been an increasing recognition of the fluidity and ambiguity of ethnic identities within the context of global mobility. With that in mind, how have films constructed the identity of ethnic Chinese in the United States? This book addresses this issue through three sub-questions. First, why is the family narrative so characteristic of films about Chinese Americans in transnational Chinese cinema? In other words, how and why are images of Chinese or Chinese Americans in transnational Chinese cinema different from those in Hollywood movies? Second, how does transnational Chinese cinema define and negotiate the aesthetic conventions of melodrama commonly used to depict Chinese American families? In terms of establishing melodrama as an evolving mode of, how does Chinese American cinema historically connect with both Hollywood and Chinese cinema? Third, what have the narrative treatments of Chinese American families in transnational Chinese cinema contributed to the ongoing representation of Chinese culture and construction of ethnic Chinese identities in Western societies? This book traverses fields such as cultural studies, Chinese studies, media studies, American studies, and film studies, and engages with a select corpus of films from the 1990s to the 2000s, directed by Chinese American, Taiwanese and Hong Kong filmmakers and produced in the USA, Taiwan, Hong Kong and mainland China, to analyze the role the American Chinese family plays in their work. With sensitivity towards transnational bonds and historical processes, a negotiation process of three sets of conflicting forces has subsequently emerged: the traditional and the modern, the national and the transnational, and Chinese American identity crisis in favor of a Chinese identity or a true American identity. Contrasting cultural beliefs undoubtedly create cross-cultural and generational conflicts within the family, yet also open the way to negotiation and compromise. This research on the cinematic depiction of Chinese Americans reveals the historically significant transnational connection among Chinese American, Chinese, and American cultures. On the one hand, ethnic Chinese are represented by boundaries that establish and define the Chinese American community against other communities, and yet, on the other hand, the representation of family life and structure of Chinese immigrants is multiple and fluid, as culture itself is unstable and uncertain. Therefore, a process of fixation and a process of fluidity seem to take place at the same time.

This anthology examines how immigrants and their US-born children use media to negotiate their American identity and how audiences engage with mediated narratives about the immigrant experience (cultural adjustments, language use, and the like). Where this work diverges from other collections and monographs is the area is its intentional focus on how both first- and second-generation Americans’ complex identities and hybrid cultures interact with mediated narratives in general, alongside the extent to which these narratives reflect their experience. In a three-part structure, the collection examines representations, “zooms in” to explore the reception of these narratives through autoethnographic essays, and concludes in a section of analysis and critique of specific media.

Ke Huy Quan, also known as Jonathan Ke Quan, is a Vietnamese-American actor, stunt coordinator, and director. He was born on August 20, 1971, in Saigon, South Vietnam, but his family fled to the United States after the Fall of Saigon when he was only eight years old. Growing up, Quan was known for being a wunderkind child actor, famous for his roles in Hollywood blockbusters like The Goonies and Indiana Jones and the Temple of the Doom. Despite his initial success in the entertainment industry, Quan decided to step away from acting after struggling with Hollywood's expectations and bias towards Asian actors. Instead, he went to school for cinematography and later worked as a stunt coordinator for major films like X-Men and The One. In recent years, Quan has directed his focus towards producing and directing his own independent films, like the zombie comedy film Spaced Invaders. Overall, Ke Huy Quan has had a long and diverse career in the entertainment industry and continues to contribute to film and television through his work behind the camera.

An analytically innovative work, Begin Here widens the current critical focus of Asian North American literary studies by proposing an integrated thematic and narratological approach to the practice of autobiography. It demonstrates how Asian North American memoirs of childhood challenge the construction and performative potential of national experiences. This understanding influences theoretical approaches to ethnic life writing, expanding the boundaries of traditional autobiography by negotiating narrative techniques and genre and raising complex questions about self-representation and the construction of cultural memory. By examining the artistic project of some fifty Asian North American writers who deploy their childhood narratives in the representation of the individual processes of self-identification and negotiation of cultural and national affiliation, this work provides a comprehensive overview of Asian North American autobiographies of childhood published over the last century. Importantly, it also attends to new ways of writing autobiographies, employing comics, blending verse, prose, diaries, and life writing for children, and using relational approaches to self-identification, among others.

This volume provides a key analysis of Asian children’s literature and film and creates a dialogue between East and West and between the cultures from which they emerge, within the complex symbiosis of their local, national and transnational frameworks. In terms of location and content the book embraces a broad scope, including contributions related to the Asian-American diaspora, China, India, Indonesia, Iran, Japan, Malaysia, the Philippines, South Korea, Sri Lanka, and Taiwan. Individually and collectively, these essays broach crucial questions: What elements of Asian literature and film make them distinctive, both within their own specific culture and within the broader Asian area? What aspects link them to these genres in other parts of the world? How have they represented and shaped the societies and cultures they inhabit? What moral codes do they address, underpin, or contest? The volume provides further voice to the increasingly diverse and fascinating output of the region and emphasises the importance of Asian art forms as depictions of specific cultures but also of their connection to broader themes in children’s texts, and scholarship within this field.

Asian migration and mobilities are transforming education cultures in the Anglosphere, prompting mounting debates about ‘tiger mothers’ and ‘dragon children’, and competition and segregation in Anglosphere schools. This book challenges the cultural essentialism which prevails in much academic and popular discussion of ‘Asian success’ and in relation to Asian education mobilities. As anxiety and aspiration within these spaces are increasingly ethnicised, the children of Asian migrants are both admired and resented for their educational success. This book explores popular perceptions of Asian migrant families through in-depth empirically informed accounts on the broader economic, social, historical and geo-political contexts within which education cultures are produced. This includes contributions from academics on global markets and national policies around migration and education, classed trajectories and articulations, local formations of ‘ethnic capital’, and transnational assemblages that produce education and mobility as means for social advancement. At a time when our schooling systems and communities are undergoing rapid transformations as a result of increasing global mobility, this book is a unique and important contribution to an issue of pressing significance. This book was originally published as a special issue of the Journal of Ethnic and Migration Studies.