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the norms of conventional society.
Sometimes this freedom was simply the prerogative of youth, and was seen as innocent and harmless. Eddie Fisher crooned Dungaree Doll in the late , and evoked the image of a happy-go- lucky bobby soxer, a tomboy who would eventually, in the words of another R post-war era song, “trade her bobby sox for stockings.” Another type of freest. dom emerged in thehowever, which was seen as much more sinister. There was a group of disenfranchised individuals who could not find a place in the conformist climate of Cold War America and who reacted to it with alienation and disdain. These were the young people symbolized in Marlon Brando’s The Wild One and James Dean’s Rebel Without a Cause, the angry or confused or simply no-good “juvenile delinquents” who at their most extreme flashed switchblades and tire irons and terrorized neighborhoods. These young people, also, wore jeans: jeans and leather jackets were the anti-fashion wardrobe that symbolically flaunted the mores of the frightened society at large. Jeans were so strongly associated with these outcasts, in fact, that a 1959 movie about an unwed teenage mother was tellingly tided Blue Denim (Shea 30). The good-versus-bad connations were symbolized by a “dress right” campaign launched by the American Institute of Mens and Boys Wear and aimed particularly at blue jeans