This dissertation examines the so-called "Asian invasion," the representation of Asian martial arts in Hollywood against the wider backdrops of cultural globalization, American domestic politics of race and sexuality, and U.S.-Asia relations. Martial arts have been a critical means for both the Hong Kong and Hollywood film industries to dominate global cinema.;On one hand, martial arts have been the platform for Hong Kong stars to enter Hollywood and go global. While Hollywood martial arts roles have been used to stereotype and racialize the yellow body, Hong Kong kung fu stars have capitalized on their skills for the benefit of their careers. By examining the cases of Bruce Lee and Jackie Chan, my dissertation argues that the representation of martial arts on the yellow body in Hollywood has been the result of constant negotiation between American Orientalism and Asian talents' desire for global visibility and success.;On the other hand, recognizing martial arts' values as a global commodity and as popular entertainment, Hollywood has produced its own martial arts films that feature American heroes performing Asian martial arts. This dissertation focuses on the genre of martial arts Western, best exemplified by the 1970s TV series Kung Fu and a contemporary samurai blockbuster, The Last Samurai. By combining the religious and spiritual aspects of martial arts philosophy with Western mythology, these martial arts Westerns revive American ideologies, such as Manifest Destiny and White Man's Burden, and naturalize the white hero's superiority in mastering other cultures.
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