In this thesis, I explore two works from Mail Order Brides/M.O.B., A Public Message for Your Private Life (1998) and Mail Order Bride of Frankenstein (2003), that take into account the histories and identities produced within Filipino/a American Communities. I use Sarita Echavez See and Emily Noelle Ignacio's theories on parody to analyze the performative aspects of M.O.B's artworks. According to See and Ignacio, parody can be utilized as a tool to simultaneously form solidarity within Filipino American communities. By examining these ideas, I argue that M.O.B. performs appropriated representations of their ethnic and assimilated cultures by using parody to critique and problematize often-misrepresented individual and cultural identities.
|Commitee:||Maram, Linda, Paquette, Catha|
|School:||California State University, Long Beach|
|Department:||Art, School of|
|School Location:||United States -- California|
|Source:||MAI 54/04M(E), Masters Abstracts International|
|Subjects:||Asian American Studies, Art history|
|Keywords:||Filipina, Filipina American, Filipino American, M.O.B.s, Mail order brides|
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