The Representation of the East-Asian Culture in the Cymbeline Poster and the Crouching Tiger Hidden Dragon Video Cover
East Asian culture has changed such as many other cultures over the
last few centuries. The famous Cymbeline that has recently been
publicized represents East Asian culture as heartless, evil monsters
that get the fun of killing each other, as the white Europeans were
considered the dominant and the more inferior compared to east Asians
as it shows in the poster but the CTHD cover represents east Asians
heartfelt, good people that fight for protection than for thrill and
that involve equality in the east Asians culture.
On one hand the Shakespeare Cymbeline poster and the CTHD video cover
differences of East Asian cultures are the way the women are shown and
represented. The Cymbeline poster, the East Asians fighters are all
men and the only women there is a White European.
This signifying that the East Asians are all Chauvinistic and that
White Europeans are all for equalitarianism; considered a higher form
of citizenship.
On the other hand CTHD represents women as equals and not as ruthless
as the poster.
The video of CTHD the women are as good as men in the matter of
martial arts at the back of the cover as you see two East Asians women
fighting.
This implies that East Asians are all for equalitarianism as the White
Europeans in the Cymbeline poster.
Heroes are needed in any form of media. The Cymbeline poster heroes
are the white Europeans.
As shown, the size of the East Asians to the White Europeans, the East
Asians are like ants but the White Europeans won’t crush the ants.
This connotes that Europeans are heroes as they don’t crush ants even
if they do bad, you can say that they are lovers not fighters as the
White European man and women are almost kissing.
In comparison the video cover shows East Asians the representation of
the hero is much more complicated, and is a celebration of the East
Much of what is considered modern Japan has been fundamentally shaped by its involvement in various wars throughout history. In particular, the events of World War II led to radical changes in Japanese society, both politically and socially. While much focus has been placed on the broad, overarching impacts of war on Japan, it is through careful inspection of literature and art that we can understand war’s impact on the lives of everyday people. The Go Masters, the first collaborative film between China and Japan post-WWII, and “Turtleback Tombs,” a short story by Okinawan author Oshiro Tatsuhiro, both give insight to how war can fundamentally change how a place is perceived, on both an abstract and concrete level.
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
Yung, Judy. 1986. Chinese Women of America: A Pictorial History. Seattle. WA: University of Washington Press.
Kokoro opens with the depiction of a White man by the narrator. The narrator discusses the Westerner as a non-threatening individual who was swimming with his Sensei. He described the Westerner as wearing Japanese clothing, acting in taking cues and acting as Sensei does, swimming among other Japanese people. The narrator does not describe himself as being frightened or threatened, yet he feels overcome with a feeling of thinking this particular Westerner was “quite extraordinary.” (Soseki 1957, p. 4). This is in stark contrast of many of the early depictions of Westerners. For example as Duus describes Japanese individuals as referring to Westerners as “red-haired barbarians.” This also was described in class discussions as we viewed paintings by Japanese individuals who demonized Westerners and made them lo...
Skidmore, Max J. “Oriental Contributions to Western Popular Culture: The Martial Arts,” Journal of Popular Culture 25, no. 1 (1991): 129-148.
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.
Based on the theme of this movie, the travesty of Japanese history in ’47 Ronin’ can be seen as a failure. Whereas the ignorance in cultural differences of clothing and hairstyle between Japan and China is one of the most obvious examples. In the Edo period, the Japanese traditional hairstyle worn by samurai is called Chonmage (topknot haircut). Only men of high rank and status such as nobles and samurai were allowed to have this haircut. Besides, it was considered a disgrace to have the topknot cut off. (Yasuka, 2015). Yet, a hair style for men in the movie all have long hair and did not tie it up which similar to the hairstyle during Hun period in Chinese history. This might imply that the chonmage hairstyle is not well-accepted by European
Han – a period of time in China in which the country was merge together (Dictionary)
...graphically and culturally different places with one unifying theme, the Japanese fascination and often misinterpretation of the West.
Japan, that strange and exotic land in the east, has a complex and interesting history that has shaped and molded its culture into a very unique society today. Of course their customs have influenced their entertainment, especially television and movies. In a day and age where information is free to all through the internet and reliable postal systems these television shows, movies, toys, and comics have made their way all over the world. The reception of Japanese media has had mixed reactions, both good and bad.
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
“Family Guy” is well known to be a cartoon of disgrace and ill-mannered portrayals of real life events. Asian Stereotype was no exception portrayals in “Family Guy”. In many of the Asian stereotypical scenes in “Family Guy”, one of the episodes shows a scene about an Asian woman driver causing wreckage on the freeway as she exits out of the freeway itself. The following is a dialogue of the scene:
McDonald, Keiko I. Cinema East: A Critical Study of Major Japanese Films. Rutherford, NJ: Fairleigh Dickinson Press, 1983.
The representation of race in Hollywood cinema has been a widely discussed topic in film analysis since the medium’s inception. Historically, non-caucasian ethnicities have been underrepresented and/or misrepresented on the silver screen. It was normal for a white actor or actress to adorn themselves in black or yellowface to represent these races and further alienate them into the category of “the other”. This exclusion has been used time and time again as a tool for distinguishing not the race being alienated but those who are doing the alienation. In the following essay I aim to assess this phenomenon specifically in relation to representation of Asians in Hollywood cinema. To support my theory, I will put into conversation both Gina Marchetti’s essay, “White Knights in Hong Kong” and Anne Cheng’s essay, “Beauty and the Ideal Citizenship: Inventing Asian American in Rodgers and Hammerstein’s Flower Drum Song (1961)”. It was when asked to consider the question of national identity projected upon the bodies on screen as written about by Marchetti and Cheng that I came across my own thesis. Through their in depth analysis I was able to code an underlying theme in the historical representation of Asians in cinema. The theme in which Asian identity is derived through strategically situating them as “the other” in order to explain what it truly means to be an American.
Chua, B. H., & Iwabuchi, K. (2008). East Asian pop culture: Analysing the Korean wave. Hong