本书选用后殖民主义理论的视角，从三个层面对论题进行了研究：一是华人形象的文化再现，二是文化再现背后的电影话语机制，三是对这一时期的文化再现从学术研究的角度提出质疑。通过探讨与论题密切相关的华人形象在美国主流文化中作为少数族话语、异国情调、边缘性及他者的问题，作者旨在探讨好莱坞电影文化中的再现出来的中美文化之间的冲突、矛盾以及融合，从而为两种不同文化之间的交流和对话提供必要的前提和基础。

李渝凤，1970年生，博士、副教授、硕士研究生导师，任职于海南大学国际文化交流学院。中国译协理事、海南省首批“515人才工程”人才。研究方向为外国文学、比较文化。
已出版学术专著2部，译著3部，发表论文20余篇。代表作有《雷切尔及其生存的愤怒》、《声音·镜子·女人》等。在研项目有“语言符码与西方大众传媒研究”等。

Chapter 1 Chineseness, Hollywood Discourse and Cinematic Apparatus
1.1 The Stereotype and the Hollywood Discourse
1.2 Methodology
1.3 Structure
1.4 Selection
Chapter 2 Literature Review
2.1 Postcolonialism
2.2 Orientalism
2.3 Culture & Imperialism
2.4 Feminism
2.5 Representation
2.6 Cine-semiology
Chapter 3 The Myth of Violence and the Other"Chinaman"
3.1 Visual Spectacle and the Violent" Oriental"
3.2 The" Deadly Ballet" and that Legendary Bruce Lee
3.3 Comedy Kung Fu and Comical Jaekie Chan
3.4 Monsters, Aliens, and Trauma on the Transnational Scene
3.4.1 Contrasting and Foiling the White Hero
3.4.2 Killing Innocent People with Excellent Kung Fu
3.4.3 The Ethical & Remediable Killer
Chapter 4 Irresistible Seduction and Inscrutable "China Lady"
4.1 A Matter of Marginality and "White Supremacist Capitalist Patriarchy"
4.2 The "Unbearably Cute but Silly" China Doll
4.3 The Externally Arrogant but Internally Fragile "Connie Chueng"
4.4 The Anti-Orientalist Transvestite" Seductive Spy"
Chapter 5 The Other Speaks: Wayne Wang's Films in Hollywood Cinema
5.1 Chan Is Missing or Chinese Missing
5.2 Re-Defining Cultural Identity in Dim Sum: A Little Bit of Heart
5.3 Decoding Cultural Connotations in The Joy Luck Club
5.4 Conclusion : "Articulating a Voice of Our Own"
Chapter 6 Conclusion:"Can One Know the Other?"
Appendix 1 Films with Chinese Male Characters( 1960 ~ 1999)
Appendix 2 Films with Chinese Female Characters( 1960 ~ 1999 )
Appendix 3 Important Films about Chineseness( 1960 ~ 1999)
Appendix 4 Movies Relevant to Bruce Lee( 1960 ~ 1999 )
Appendix 5 Minor Roles of Chinese in Hollywood Films( 1960 ~ 1999)
References