There have been a number of themes in the history of Asian American cinema, in a plethora of films. To start, The Mask of Fu Manchu, an adventure film made in 1932, played heavily on the theme of “Yellow Peril,” or “Yellow Terror.” The “Yellow Peril” was a metaphor for Asian Americans in the early twentieth century, and portrayed East Asians as vicious, coldly calculating, and utterly bent on annihilating western society. However, Better Luck Tomorrow, a crime-drama film made in 2002, parodied almost the exact opposite, specifically the “model minority” theme. The term “model minority” referred to minority groups that were perceived as achieving high success in education, income, and general stability. Lastly, Chan is Missing, a movie made in 1982 consisting of an amalgam of different genres, such as detective and drama, explored the identity crisis that Chinese Americans faced in the United States, and also served as an example of the shifting nature of Hollywood productions. Throughout the history of Asian American films, there have been a number of themes portrayed in a diverse selection of movies.
The Mask of Fu Manchu, starring Boris Karloff in Yellowface, was an adventure film in the early twentieth century that played on the theme of the “Yellow Peril.” In the time of the World Wars, East Asians were feared for their expansion, and migration, and viewed as a threat. In an attempt to sway the western public a certain way and make them fearful of East Asians, the metaphor of the “Yellow Peril” was created. Essentially, the “Yellow Peril” refers to any East Asian as violent but intellectual, cold and calculating, and in a position to overthrow western society. “Penny-press journalism warned of the Yellow Peril, a popular term...
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...uly represents the melting pot culture of the United States.
There have been a variety of themes in Asian American cinema history, both contemporaneously and in the past. The Mask of Fu Manchu played on the Yellow Peril theme, serving as propaganda to help western society view East Asians as the evil in the world. Better Luck Tomorrow used the model minority stereotype in a way that parodied it, making it ridiculousness enough that it helped to remove the constraints of various Asian American labels. Lastly, Chan is Missing helped to highlight the difference in the shifting nature of Hollywood films. Asian Americans used to be cast as the evil opposition in The Mask of Fu Manchu, but now Asian Americans have a voice in how they are portrayed in media as more and more begin to make movies. Different, diverse themes are abundant in the history of Asian American films.
Classic stories remain a classic because they convey a message which appeals to people of multiple generations despite changes in society. King Kong was released in print in 1932, a year prior to its release in Hollywood, as a part of the film’s advance marketing. The public of this generation easily accepted the story’s racist, colonialist, and sexist themes. Today, literary critics such as Cynthia Erb view the novel and film as representation of the early 30s and thus a resource to understand the cultural context of the times. In particular, King Kong provides a window through which a modern audience can understand and interpret racism of the 1930s.
However, to view the Native-sympathetic Western as a wholly British phenomenon would be misleading. American productions of the Vietnam War era, such as Little Big Man (1970) and Soldier Blue (1970), attest the skepticism of the film industry on both sides of the Atlantic towards U.S. intervention. Nevertheless, in the broader context of the American Western genre as a whole, films such as these that redrew racial conventions were the exception rather than the rule, as is indicated by their “revisionist” (that is, unorthodox) classification. Conversely, although the number of Westerns produced in Britain is far smaller than the number produced in the U.S., a much higher proportion of these films represent white Americans as the villains while
Ever since the establishment of cinema in the early 1900s, Hollywood has continuously recreated elements of history to reenact for its future generations. In order to clearly broadcast a specific theme or message to relay to viewers around the world, Hollywood executives tend to embellish real life events, in order to provide a “fairytale” aspect to a seemingly not so “happily- ever-after” story from history. As part of this “fairytale” aspect, Hollywood tends to delegitimize as well as provide a more disrespectful and more comical version of societies and cultures in the specific time frame that the film is being set. Through the art of story telling, the movies Mulan and Kung Fu Panda, depict the two sides of Hollywood, the falsifying and mockery making of Chinese people, their society, beliefs and true events of history and that of an accurate portrayal.
...e American Dream. Larry Ceplair and Englund stated in the book The Inquistion in Hollywood, “The destruction of the motion picture Left not only transformed the political atmosphere in Hollywood, but also adversely affected the kind of product which the studios turned out. “ In the early 20th century Hollywood reframed from producing politically controversial films in fear of becoming a target of McCarthy or the HUAC. Anti-communism influences the films produced, films portrayed communism as evil and immoral. The films during the cold war certainly portrayed the political storm between the progressive left and the conservative right. Films such as Ninotchka in 1939, showed anti-communism, guilty of Treason 1949, showed an attack against communism, exploiting the evils of communism was shown in Docudrama. The Red Menace in 1949 showed the immense threat f communism.
The viewer sees a private eye and beautiful client. First thought, "It’s definitely another Hollywood crime drama." On the surface, Chinatown has all the elements of a film noir: the presence of a beautiful but dangerous woman, otherwise known as the femme fatale, a gritty urban setting, compositional tension (highly contrasting light and dark colors or oblique camera angles), and themes of moral ambiguity and alienation. Chinatown, however, is different. Polanski shot Chinatown with color film, and though his colors do appear especially vivid, color film precludes the contrast intensity that black and white film offers. In addition, Evelyn is not the classic femme fatale. Though Jake mistakes her for her husband’s killer at first, Mrs. Mulwray eventually emerges as the story’s most tragic victim. Yes, Chinatown for the most part conforms to the structure of film noir, but this film departs from the general genre, creating an entirely different element in which Roman Polanksi examines not only big-money corruption and its malignant obsession with money, but also larger, more human themes such as ignorance, authority, and the pervasiveness of evil.
I gave several examples where Asian Americans were used to play very simple characters. These roles were defined by stereotypes that exist in America. I also researched instances on counter actions taken by Asian Americans to protest against these negative images. My research also has examples of Asians that have succeeded in breaking through the racial barriers in the media.
2. Feng, P. (Fall 1999). "The State of Asian American Cinema: In Search of Community". Cineaste, 24.
The quest for identity quickly finds its place in the construction of the notion of ‘Hong Kong-ness’ in films. The local cinema has remained as a powerful cultural institution, both reflecting and intervening in the discourses of alterities and selfhood. It is therefore not surprising that in local films, the cinematic representations of Hong Kong have been seen as inextricably interwoven with the triangular relationship between the British coloniser, the Chinese motherland, and Hong Kong itself. Since its inception in the 1910s, the Hong Kong film industry has enjoyed much independence from colonial control, yet simultaneously much association with Western culture. Many films openly deal with the theme of ‘East meets West’ in which ‘Hong Kongese’ identity is often expressed in "transnational settings" against the existence of a Western Other, in particular through the portrayal of Westerners visiting Asia, and vice versa. After the handover, "Hong Kong" as a geopolitical en...
The film Hero depicts one of the most culturally rich and diverse country, China. China is one of the largest countries in the world with the long profound history. It is also the most diverse country in terms of language, religion, rituals, traditions, and beliefs. The film Hero has an unusual movie theme, it repeats similar events through flashbacks and with different outcomes. The tale is about the nameless warrior and the triumph of Qin’s idea of unifying China. The king invites the warrior to honor him for defeating his three most dangerous enemies, who are often proclaimed as the unbeatable warriors. The film is a cultural description of Chinese traditions. It has expanded my understanding of Chinese culture by portraying the spectacular
In one of the more commonly portrayed stereotypes in film, Asians are often portrayed as great martial artists. Martial arts seem to come less as a skill and more a natural ability to someone who is Asian. Somehow, it’s right in our blood. Actors who have contributed to t...
Roman Polanski's 1974 film, 'Chinatown', revolutionized the film noir genre. Aside from the absense of voice-over, the film shares all the same characteristics with earlier noirs. That is, of course, except for the fact that ?Chinatown? is filmed in color. Because of this, it is more difficult upon the first viewing to immediately classify the movie to this genre. In movies such as ?Double Indemnity? even scenes that take place during the daytime are dark, and since it is a black and white film, this is easy to do. However, in a film with color it is much harder to create this dark effect, especially in scenes that are filmed outdoors. Polanski makes references to symbols that remind the audience that although ?Chinatown? is in color, it still belongs in the genre. For example, one of the first lines in the movie is, ?I just had [the venetian blinds] installed on Wednesday.? Venetian blinds are often seen in the genre, and the reference immediately makes the connection between this...
Just like any other racial stereotypes, Asian Stereotypes have been and always will be around in our society. The fact that Asians are allowed to be portrayed stereotypically in Media shows the lack of voices of this minority group. Asian stereotypes are taken lightly by others, and yet heavily by the Asian population. Whether one likes it or not, Asian stereotype does not disappear eternally. As individuals of intellectual specie, we have to acknowledge the power of a racial stereotype and the possibilities of it remaining to be an eternal issue. To allocate such problem to another perspective, we must aim to become aware of them, by viewing these Asian Stereotypical films of what your average American watches on TV or at the movies. Although when Asian characters seem harmless (Jackie Chan in “Rush Hour” series) or humorous...
It is as though Asian Americans are succumbing to the thought that America is the only place to be and that they should be grateful to live here. On the other hand, keeping silent due to pressures from the white population means being shunned by the members of the Asian American population. I disagree with Chin’s assertion that “years of apparent silence have made us accomplices” to the makers of stereotypes (Chin 1991, xxxix). I agree with Hongo’s argument that the Chin viewpoint “limits artistic freedom” (Hongo 4). Declaring that those writers who do not argue stereotypes of the good, loyal, and feminine Chinese man or the submissive female, are in any way contributing to or disagreeing with them is ridiculous.
The White Savior Complex is a damaging subconscious underlay of the Hollywood system, and more broadly all of western society. It is used to further separate the notions of “us” and “other” by creating a firm separation fueled by self-righteousness, and a sense of entitlement. Hollywood attempts to address race relations, but fails because of this trope. Kingsle, from the article “Does My Hero Look White In This?” described that both racism and colonialism are acknowledged, but not without reassuring that not only were white people against the system of racist power dynamics, but also were actively fighting against it in leadership roles (2013). In the remainder of my essay I will be commenting on many modern films and their use on this trope, and why subscribing to this filmmaking strategy is problematic.
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...