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Between 1919 and 1961, pioneering Chinese American actress Anna May Wong established an enduring legacy that encompassed cinema, theater, radio, and American television. Born in Los Angeles, yet with her US citizenship scrutinized due to the Chinese Exclusion Act, Wong—a defiant misfit—innovated nuanced performances to subvert the racism and sexism that beset her life and career. In this critical study of Wong's cross-media and transnational career, Yiman Wang marshals extraordinary archival research and a multifocal approach to illuminate a lifelong labor of performance. Viewing Wong as a performer and worker, not just a star, To Be an Actress adopts a feminist decolonial perspective to speculatively meet her as an interlocutor while inviting a reconsideration of racialized, gendered, and migratory labor as the bedrock of the entertainment industries.
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Yiman Wang is Professor of Film & Digital Media at the University of California, Santa Cruz, and author of Remaking Chinese Cinema: Through the Prism of Shanghai, Hong Kong, and Hollywood.
"The definitive work regarding the contributions of Anna May Wong to cinema. Through gorgeous theory and astute historically situated analysis of acting as labor and performance, Yiman Wang gives us greater understanding of what prevented Anna May Wong from achieving her due. The recognition that her talent demands and deserves is finally given to her by this magnificent book."—Celine Parreñas Shimizu, author of The Movies of Racial Childhoods: Screening Self-Sovereignty in Asian/America
"Wang has written a remarkable book about Anna May Wong. Theoretically sophisticated and based on extensive and original archival research, To Be an Actress confronts the complexity of Wong's status as a Chinese American actress who was simultaneously excluded and idolized during her lifetime. While other studies of Wong's legacy focus on cosmopolitanism, costume and fashion, or receptions of racial stardom, the brilliance of this book is to shift attention to her actual work as an actress, whether as leading lady or ancillary performer, for insights into current debates about Orientalism and postcoloniality, citizenship, and precarious labor and agency."—Patrice Petro, Dick Wolf Director of the Carsey-Wolf Center and editor of Idols of Modernity: Movie Stars of the 1920s
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