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Slaying the Dragon gave the audience a look inside the world of Asian actresses. The entertainment industry is very different for women of Asian descent. I never realized how difficult it was for these women in the earlier years of the film industry. Even today, when asked to name famous Asian actresses, I had a hard time thinking of more than two or three.
The Asian women interviewed in this film spoke candidly about their experiences in the entertainment industry. This film shows a comprehensive look at media stereotypes of Asia and Asian American women since the silent era. One point that the film brought up was that many white women played Asian women in early Hollywood films. One actress who frequently played an Asian woman was Katherine Hepburn. I can’t imagine how insulted I would be if I was an Asian actress who was losing roles to an American woman.
The movie also showed the successes of Anna May Wong’s sinister dragon lady, Suzie Wong and the ’50s geisha girls and the Asian-American anchorwoman of today. One of the anchorwomen who was interviewed spoke about the stereotypes of exoticism and docility that have affected the perception of Asian-American women. She spoke about how her boss didn’t like when she stood up for herself and made radical decisions to cut her hair.
The stereotypes for Asians are never ended; generally we assume that they are quiet, smart, good in math and science and passive. This movie tried to devour these stereotypes and give the audience an inside look into the minds of the Asian women interviewed. I have a good friend from high school who is Korean and having grown up with her, I have watched her struggle with acceptance and trying to overcome these horrible stereotypes. When we reached our junior year in high school and began looking at colleges, she decided that she wanted to attend a college where she wouldn’t be one of the only Asian girls. Growing up in a small rural community, she often felt like an outcat in our white high school. She is now attending SUNY Buffalo and is very happy that she is in a more diverse community.
The “lotus blossom” stereotype is an Asian American female stereotype that portrays them as feminine, submissive, and desirable romantic interests for the white male protagonist (Tajima 309). Although the stereotype is the production of films fetishizing the “traditional Orient” culture, the stere...
...en in this film have any strong masculine qualities. They cannot take charge, they are easily intimidated, and they are never assertive with their beliefs and restrictions giving the impression to the movie viewers that Asian Americans are docile beings and Asian Americans are obstacles easily overcame.
Andre, Judith. “Stereotypes: Conceptual and Normative Considerations.” Multicultural Film: An Anthology. Spring/Summer 2014. Eds. Kathryn Karrh Cashin and Lauren Martilli. Boston, MA: Pearson, 2013.
Wu, Ellen D. "Asian Americans and the 'model Minority' Myth." Los Angeles Times. 23 Jan. 2014. Los Angeles Times. Web. 04 Feb. 2014. .
The story starts out with Kevins birthday party, at his birthday party kevin receives a camera from his family. A few days later Kevin learns that the camera doesn't work quite right. At first whenever he took a picture it came out as the same thing over and over. It was a big black dog running in front of a white picket fence. Then Kevin and his father have a discussion on wether or not to keep the camera, Kevin decides to keep it. The next day Kevin brings the camera into Pop Merrill the man who owns the shop where the camera was bought. Pop tells Kevin to bring the camera back in the morning and he will take a look at it. So Kevin goes home and has an idea he tries three other brands of film to see if that changed anything. He took five pictures a piece with each film, they all came out as the dog picture.
...ent from the silent era of film, overt racism of ethnic minorities was blatantly apparent within the film medium. However, presently this overt racism however has shifted into a more subtle segregation of casting and racial politics within the film medium. It seems that both the problem and the solution lies in the Eurocentric domination within the Hollywood film industry – and it seems that it still remains challenged to this day.
Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were the only way for African-Americans to express the deep pain that the white population placed in front of them. Singing, dancing and acting took many African-Americans to a place that no oppressor could reach; considering the exploitation of their character during the 1930's-1960's acting' was an essential technique to African American survival.
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.
The second and third sections are about the daughters' lives, and the vignettes in each section trace their personality growth and development. Through the eyes of the daughters, we can also see the continuation of the mothers' stories, how they learned to cope in America. In these sections, Amy Tan explores the difficulties in growing up as a Chinese-American and the problems assimilating into modern society. The Chinese-American daughters try their best to become "Americanized," at the same time casting off their heritage while their mothers watch on, dismayed. Social pressures to become like everyone else, and not to be different are what motivate the daughters to resent their nationality. This was a greater problem for Chinese-American daughters that grew up in the 50's, when it was not well accepted to be of an "ethnic" background.
Living with their traditional Chinese culture in American society, these eight Chinese-American women suffer the problems of cultural conflicts in compliance with their gender. Asian women were looked at as being "positive, subservient, compliant, quiet, delicate, exotic, romantic and easy to please" (Mulan). They are nicknamed "China dolls" or " lotus blossoms", which are sexually loaded stereotypes of Asian women. These stereotypes discriminate against women by degrading their worth as people. By men taking advantage of their obedience and submissiveness they are showing that these women are not valued and that they have no voice. Judith Butler responds to these roles by saying, "Gender is an act, a performance, a set of manipulated codes and costumes rather than a core aspect of essential identity". By the middle of this century, Chinese women had been playing this manipulative, subservient role for m...
...ding white, male superiority. Back in high school, I dated a non-Asian male from my class who often talked about how Asian women are “hot and sexy” yet “more faithful to men and less aggressive than White women.” At the time, I thought this was a compliment and I often tried to conform to this stereotype in order to satisfy my partner. Images of Asian-American women as both innocent and dangerous have legitimized any racist and sexist policies directed at Asians and women.
Throughout Asian American literature there is a struggle between Asian women and their Asian American daughters. This is the case in The Joy Luck Club, written by Amy Tan and also in the short story "Waiting for Mr. Kim," written by Carol Roh-Spaulding. These two stories are very different, however they are similar in that they portray Asian women trying to get their American daughters to respect their Asian heritage. There are certain behaviors that Asian women are expected to have, and the mothers feel that their daughters should use these behaviors.
Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
His name was Aden, and he was about 7 years old. He had messy brown hair and excited blue eyes. As soon as he saw the lonely puppy, he smiled. “Mom! Dad!” he called. “There’s one puppy left!”. The puppy recognized this boy from earlier in the day. He had picked the puppy up and said, “I want to take you home. I’ll be right back.”.