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Criminalization/Assimilation: Chinese/Americans and Chinatowns in Classical Hollywood Film

scenes not only of The Man Who Never Was (Ronald Neame, 1956), but also of the secret military operation it depicts, to contemplate existential issues at work in such an unusual scenario for a biopic, where the subject is by necessity unknown to the public. Erica Sheen’s contribution compares televised adaptations of the Cambridge Spies’ story, pointing out how the Britishness of the productions is tangible in their emphasis on collective action and a serial narrative, rather than a stereotypical and melodramatic narrative arch that Hollywood biopics tend to adopt. In this way, the collection not only fulfils but goes beyond what it promises, with several essays challenging the commonly established definitions, using examples of the extraordinary to engage the reader in the discussion of the stereotypical iterations of the genre. With its impressive array of themes and subjects, the volume can be a useful addition to the library of students and scholars of film and genre studies, but also of those interested in representations of national identity. Although some passages are plagued by a surprising amount of minor, though no less annoying typos and editorial mistakes, on the whole, this is a fine collection that will retain its position in scholarship for many years to come.