Colonialism in Jackie Chan Films
For over 20 years Jackie Chan has been the biggest action star in most of the world. First becoming popular in his native Hong Kong in the early 80s, his popularity slowly spread across the globe, and finally hit the U.S. with the 1996 release of Rumble In The Bronx (1994.) Since then Chan has made three highly successful films with American studois and several more with the Hong Kong studio Golden Harvest. He is easily one of the most recognizable Asian movie stars or all-time. Jackie Chan’s movies are famous for their over-the-top stunts and hilarious-but-amazing fight scenes, so much so that the actual plots of the films are sometimes forgotten. However, if one looks past the all the fights and laughs present in almost all of Jackie Chan’s films and just examines the stories behind them, an odd set of recurring themes soon make themselves present. Many of Chan’s best and most well-known works are attacks on colonialism and racism, not just in Hong Kong, but also across the world. At the same time Chan is making these rather blatant anti-colonial films, other films of his seem to be defending colonialism while reinforcing negative stereotypes about the Chinese people and even other races. Some of his films even seem to do both, attack and defend colonialism, at the same time. It is my goal to show that the majority of Jackie’s films, especially his more recent work, all deal heavily with themes of colonialism and racism, whether it is good or bad, and that this has to do greatly with Hong Kong’s relationship with Europe and America. I will also attempt to show, that while Jackie has begun to make films in America, his anti-colonialism, and to some extent his anti-European and anti-American vi...
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..., the most obvious being that Britain no longer has control of Hong Kong, China does. Whether this will translate into more anti-Chinese films to be made is unknown, but it is likely that Jackie Chan will continue to find complex message about race and colonialism in his films, regardless of where they are made, even if they may not be as strong as they were in the past.
Works Cited
Logan, Bey. Hong Kong Action Cinema. New York: Overlook, 1996.
Hsiao-peng Lu, Sheldon, ed. Transnational Chinese Cinemas. Hawaii: University Of Hawaii Press, 1997.
Chan, Jack and Jeffy Yang. I Am Jackie Chan. New York: Ballantine Books, 1999.
Fore, Steve"Life Imitates Entertainment: Home and Dislocation in the Films of Jackie Chan." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 115-42.
British Imperialism in China and Africa The treatment of the Chinese by the British, during the takeover of their country, was just like that of the Africans. The British took over the land and the government, took advantage of the people and exploited them for their resources. The English accomplished these things differently in each situation, but each time, the results were the same. One of the most important aspects of imperialism is the takeover of government.
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.
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
In his 1937 film Street Angel, Yuan explores the inequities facing Shanghai’s urban proletariat, an often-overlooked dimension of Chinese society. The popular imagination more readily envisions the agrarian systems that governed China before 1919 and after 1949, but capitalism thrived in Shanghai during that thirty-year buffer between feudalism and Communism. This flirtation with the free market engendered an urban working class, which faced tribulations and injustices that supplied Shanghai’s leftist filmmakers with ample subject matter. Restrained by Kuomintang censorship from directly attacking Chinese capitalism, Yuan employs melodrama to expose Street Angel’s bourgeois audience to the plight of the urban poor. Yuan presents capitalist Shanghai as a binary and deeply unequal society, at odds with the “more pluralistic sense of cosmopolitanism” desired by leftist filmmakers of the 1930s (Pang 62).
DeCataldo, K., & Carroll, K. (2007). Adoption Now: A joint initiative of New York's Courts and Child Welfare System. Child Welfare, 86(2), 31-48. Retrieved from professional Development Collection database.
Out of all mental illnesses found throughout the world, eating disorders have the highest mortality rate. Anorexia nervosa is one of the more common eating disorders found in society, along with bulimia nervosa. Despite having many definitions, anorexia nervosa is simply defined as the refusal to maintain a normal body weight (Michel, 2003). Anorexia nervosa is derived from two Latin words meaning “nervous inability to eat” (Frey, 2002). Although anorexics, those suffering from anorexia, have this “nervous inability to eat,” it does not mean that they do not have an appetite—anorexics literally starve themselves. They feel that they cannot trust or believe their perceptions of hunger and satiation (Abraham, 2008). Anorexics lose at least 15 percent of normal weight for height (Michel, 2003). This amount of weight loss is significant enough to cause malnutrition with impairment of normal bodily functions and rational thinking (Lucas, 2004). Anorexics have an unrealistic view of their bodies—they believe that they are overweight, even if the mirror and friends or family say otherwise. They often weigh themselves because they possess an irrational fear of gaining weight or becoming obese (Abraham, 2008). Many anorexics derive their own self-esteem and self-worth from body weight, size, and shape (“Body Image and Disordered Eating,” 2000). Obsession with becoming increasingly thinner and limiting food intake compromises the health of individuals suffering from anorexia. No matter the amount of weight they lose or how much their health is in jeopardy, anorexics will never be satisfied with their body and will continue to lose more weight.
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.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
In essence, he was shunned” (Hongo 4) by the white people who could not believe that he would attack their superior American ways. According to writers such as Frank Chin and the rest of the “Aiiieeeee!” group, the Americans have dictated Asian culture and created a perception as “nice and quiet” (Chin 1972, 18), “mama’s boys and crybabies” without “a man in all [the] males.” (Chin 1972, 24). This has become the belief of the preceding generations of Asian Americans and therefore manifested these stereotypes. Those authors who contest these “American made” stereotypes are said to betray the American culture and white power around them, and to be “rocking the boat” in a seemingly decent living situation.
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.
Having realized art as a structured cultural phenomenon, and having emptied its direct and apparent meaning, it is possible to identify all its possible significations. Interestingly enough, I find that art reveals many diametrically opposed significations: expression and oppression, bias and acceptance, individual and society, creativity and confinement, and freedom and convention, among others. Art signifies the de-politicization of our culture, for even the most political of pieces cease to cause a stir among the masses.
Art has had its roots, one may argue, when civilization was born. With each respective civilization and time periods from the past, humans have formed a diverse and unique society, a group of people with their own individual characteristics, cultures, as well as philosophies within which all kinds of differing ideas, thoughts and opinions are always brought upon for challenge and evaluation. These distinct aspects of a culture and/or time period may be recorded by people in varying forms of expression we all know as art. Directly from where culture had originated, events and/or emotions from that time period have been reflected or directly recorded in the arrangement of pictures i.e. paintings from the past which inform us about the people’s experiences and events in the past historical periods. Ultimately, History is the record of the development and how we have evolved as humans together in a society. History can be expressed and reflected in different kinds of music, sculptures, as well as paintings. There are several different periods of Art, each has contributed and reflected to how a society was. Art has been usually used by historians as one of the vehicles of history to illustrate and illuminate it as they are able to recognize that some types of art may be able to help them identify and explain the nature of societies and periods in history. Art and society have counteracted with each different type bringing forth new arts and new societies for many generations to come. Ideas have caused responses by citizens and therefore bring forth several different types of influences on a period’s background, heredity, and environments. These influences are then translated into new a idea, which then triggers the circle to repeat it...
Art is not useless as Oscar Wilde stated; nor is it the death of logic by emotion as Plato supposed. Art is an activist trying to inform and shape the social consciousness. Art by nature is critical and questions how the world is perceived. These questions are pivotal in creating change within society. The Armory Show, a major turning point in American art, for example, was inspired by shifting perceptions of the aesthetic and a stirring toward modernity. The Armory Show was an artistic rebellion against the juries, prizes, and restricted exhibitions that excluded unacademic and yet t...