Introduction Section One: Correlations Chapter 1: Modes of Deceptions: The Plasticity of Kyo Machiko, Kimono's Dangerous/Naive Presence in Japanese Film, ( Lucile Druet, Kansai Gaidai University, Hirakata, Osaka, Japan ) Chapter 2: Heavy Shadowing: Sono Osato and the Japanese Spectre on the American Screen ( Angelene Wong, Nanyang Technological University, Singapore ) Chapter 3: Tan Kheng Hua's Way: Acting Chinese/Asian/Singaporean (Nadya Wang) Chapter 4: Chinese Femininity in Huallywood: Branding Jing Tian With Transnational Appeal ( Yixuan Feng, University of Liverpool, UK ) Section 2: Transformations Chapter 5: 'Fat Fat': Lydia Shum as the Most Lovable Hong Kong Comedienne, ( Yung-Hang Bruce Lai, King's College, London, UK ) Chapter 6: Between the Male Gaze and Female Expression: Chinese comedienne Jia Ling and her film, 'Hi, Mom', ( Xiao Yang, Monash University, Australia. Master's from University College, London, UK ) Chapter 7: Celebrity Contradictions and Borrowed Auras: Iza Calzado (Ian Dixon, Nanyang Technological University, Singapore) Chapter 8: Soft Masculinity, a New Aesthetic and Gender Performance of Tom Identity in Thailand, ( Charlin Nukul, Rajamangala University of Technology Thanyaburi, Thailand ) Section 3: Reconfigurations Chapter 9: Michelle Yeoh and the Cultivation of an Oscar-Winning Screen Persona, ( Andrew Hock Soon Ng, Monash University, Malaysia ) Chapter 10: From Occidental Pornstar to Oriental Mistress: The Sexual Re-Orientation of Sunny Leone in Indian Cinema, ( Dr. Sony Jalarajan Raj, MacEwan University, Canada, and Mr. Adith K Suresh, MacEwan University, Canada ) Chapter 11: Zhang Ziyi as the 'New Chinese Exotic', ( Deng Bingying, Nanyang Technological University, Singapore ) Chapter 12: Sunmi as 'Heroine, Gashina, and Siren': How a Former Member of the K-Pop Group The Wonder Girls Developed 'Sunmi-Pop', ( Grace Kao, Yale University, USA ) Index.