After emerging from the tumult of social movements of the 1960s and 1970s, the field of Asian American studies has enjoyed rapid and extraordinary growth. Nonetheless, many aspects of Asian American history still remain open to debate. The Oxford Handbook of Asian American History offers the first comprehensive commentary on the state of the field, simultaneously assessing where Asian American studies came from and what the future holds. In this volume, thirty leading scholars offer original essays on a wide range of topics. The chapters trace Asian American history from the beginning of the migration flows toward the Pacific Islands and the American continent to Japanese American incarceration and Asian American participation in World War II, from the experience of exclusion, violence, and racism to the social and political activism of the late twentieth century. The authors explore many of the key aspects of the Asian American experience, including politics, economy, intellectual life, the arts, education, religion, labor, gender, family, urban development, and legal history. The Oxford Handbook of Asian American History demonstrates how the roots of Asian American history are linked to visions of a nation marked by justice and equity and to a deep effort to participate in a global project aimed at liberation. The contributors to this volume attest to the ongoing importance of these ideals, showing how the mass politics, creative expressions, and the imagination that emerged during the 1960s are still relevant today. It is an unprecedentedly detailed portrait of Asian Americans and how they have helped change the face of the United States.

This title provides a narrative interpretation of key themes that emerge in the history of Asian migrations to North America, highlighting how Asian immigration has shaped the evolution of ideological and legal interpretations of America as a 'nation of immigrants'.

"What is the state of the field of immigration and ethnic history; what have scholars learned about previous immigration waves; and where is the field heading? These are the main questions as historians, linguists, sociologists, and political scientists in this book look at past and contemporary immigration and ethnicity"--Provided by publisher.

This handbook examines film and new media in the light of their convergence. It draws on leading scholars in the field to discuss traditional areas of history and theory of film and digital media. Its focus, however, is on the cycle of technologically driven arts. Film was born of a number of experiments in reproducing motion, all of which culminated in the nineteenth-century projection of short films. The creation of digital media resulted from experiments in alternative forms of representation in the early 1960s. John Whitney began creating avant-garde films from digital graphics around 1960 (and some of his ideas and methods were incorporated by Stanley Kubrick in 2001: A Space Odyssey). By the early 1990s, commercial filmmakers began to employ digital effects in their work. By the late nineties, digital arts had come fully into their own, both in the form of stand-alone or interactive artworks and films created with and for the computer. At the same time, digital effects had completely overtaken optical printing and matte painting in film. From special effects to creating "realistic" backgrounds and crowds, the digital is infiltrating all aspects of filmmaking. The infiltration is about to become a takeover, as celluloid is replaced by high definition digital recording and projection processes. Many aspects of film will change as this latest convergence takes place. Already, cultural response to film has changed as viewers begin to teach themselves about film through supplementary material on DVDs and to make their own films on home computers. But this handbook is not a technical history or manual. Quite the contrary, it is a scholarly work discussing the aesthetics, economics, and cultural results of these changes and convergences. The book balances traditional scholarship and analysis with essays addressing technological change and the concurrent changes in cultural responses to these changes, responses already acknowledged by the profession.

This is the first formal literary criticism on Asian American literature. The existing studies emphasize sociological and historical backgrounds of the writers with only general summaries of individual works. The shapes and individual styles of prominent Asian American writers are analyzed in detail to see if they fit standards given to us by established critics like Aristotle, Henry James, Percy Lubbock, and Wayne Booth. Comparisons to European and American writers are included to illuminate and provide insight into these representative writers. Their works are considered as literary achievements first and cultural artifacts second.