Imagine a distant post-apocalyptic future in which a group of researchers discovers a stack of DVDs of 20th and 21st century Hollywood movies of Asian American actresses. After watching those movies, what might the researchers conclude about the characteristics of Asian American women in the movies? Certainly, they will view Asian American women as sexual and erotic objects of the society that white men can score with ease. Why do I assume they will think that way? The answer is a simple, yet controversial one: mostly, the media, as the history proves, portrays Asian American women either as erotic sex slaves of white men or as insidious personalities who lure their prey into a trap with their sex appeal. If we look into the history, we will find mainly two different types of Asian Women in the media: “Dragon Lady,” and “China Doll” – the two characteristics that altogether represent sexual and erotic nature of Asian women. Today, such stereotypical representations of Asian American women still exist in the movies even though the media claims that such stereotypes belong only to the past of American media. This paper will compare the typical roles of Lucy Liu, a modern Asian American actress, and Nancy Kwan, an Asian American actress who began her career in 1960s, in American films to show that representation of Asian American female characters as sexual and erotic objects has hardly changed over time.
History of Asian Women as sexually enticing objects:
Connie Chan, in her article, “Asian American women: The psychological responses to sexual exploitation and cultural stereotypes,” stresses that Western colonization of many Asian countries marks the beginning of cultural stereotype of Asian American women as “sexual and e...
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...one outlining characteristic: both are Asian American women that are full of sexuality and eroticism. The only difference that Lucy Liu is less feminine than Suzy Wong is a vague media-trick used to build up the already shattered respect in the world of feminists. Seriously, how does the mass media think that it can portray Asian-American women as sexual and erotic objects that seduce men and call their characters less womanly in order to, perhaps, balance out the overly sexual nature of such characters? Simply, they cannot do so because making women less womanly is like adding more fuel to the fire and claiming that it will the extinguish fire. After all, the portrayal of sexuality and eroticism is what psychologically affects the Asian American women in the society; adding more the “deceiving” part just makes it harder for them to walk around without stress.
Approximately about a decade ago, Japanese, Chinese, Korean and Vietnamese women all had a distinctive look and features. Single eyelid, thin lips, short-bridged nose and oval shape face are few of the features that distinguish Asian women apart. However, these distinctive features are slowly fading away as the new westernized features are coming in. Through the mass media and their
In what ways and to what effect do female characters simultaneously enact and subvert Vietnamese gender roles.
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 number of Asian American communities is growing in the U.S. population, however, these groups of people are often marginalized and misrepresented in mainstream media. In today’s mainstream media, there is a visible lack of Asian American representation on film. Asian actors, when given roles in film and television, are rarely cast for central roles and form about only 3% of prime-time characters (Ramasubramanian, 2011). Not only is the number for casting Asian and Asian Americans low, the roles of these characters are often portrayed in the stereotypical ideology which has been present for decades. But why are Asians portrayed the way they are? Why has Hollywood maintained its representational practices when it comes to the portraying Asians? Why do these portrayals persist in the presence of a growing Asian population and racial diversity? What is the significance of the Asian American segment for Hollywood? To what extent does the consideration of the Asian American market influence the way Hollywood portray Asians? These are the questions that surface when watching films, and in the lens of an Asian American, many Asians and Asian American do not fit the mold created by Hollywood. First, I will introduce the range of common film representation of Asians. This literature review will focus on the negative and positive light of Asian representation , the structure of Hollywood film industry and its effect on representing Asian race, the social acceptance of Asian stereotypes, and Asian American’s social identity theories.
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...
For 20 years, Asian Americans have been portrayed by the press and the media as a successful minority. Asian Americans are believed to benefit from astounding achievements in education, rising occupational statuses, increasing income, and are problem-fee in mental health and crime. The idea of Asian Americans as a model minority has become the central theme in media portrayal of Asian Americans since the middle 1960s. The term model minority is given to a minority group that exhibits middle class characteristics, and attains some measure of success on its own without special programs or welfare. Asian Americans are seen as a model minority because even though they have faced prejudice and discrimination by other racial groups, they have succeeded socially, economically, and educationally without resorting to political or violent disagreements with the majority race. The “success” of the minority is offered as proof that the American dream of equal opportunity is capable to those who conform and who are willing to work hard. Therefore, the term ...
...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.
South Asian women engage in patriarchal values and normative structure established more than two thousands years ago, continue to be oppressed by a dominant group of men. These women suffer further oppression through the strict adherence to cultural garb. Still today, media and educational system portray South Asian women as self-sacrificing, faithful to the family, and submissive to men.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
In Japanese culture, it was a common ideal to view women as incompetent of being the head of a household (Yoshimi 200). Asian Women were subjected to discriminatory attitudes towards them by men, which left them with almost no opportunity to avoid a life in low social classes. In 19th century Japanese society, an unmarried woman was no doubly associated with low-end occupations that had significantly low wages (Yoshimi 70). The disadvantages associated with being a woman of a low social stature created an unfortunate history of prostitution among Japa...
“Natural History of a Chinese Girl” can be more productively interpreted as a European’s documented culture shock rather than justified outrage over oppressed women. Regardless, the attitude towards the expected sex and gender normalcies is inherently
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...
At the start of “Shanghai Girls” by Lisa See, we are introduced to two sisters May and Pearl, whose lives change for the worse when the realities of living in a sexist society impacts them personally. When May and Pearl’s father says, “I’ve arranged marriages for you” (See 20) , they must accept. This is because despite their education, without a male figure, such as their father’s ability to support them, they would only end up as beggars or prostitutes. While the sisters were traveling to meet their husbands in Los Angeles, there was immediate racism/xenophobia; particularly against the Chinese immigrants. Pearl states, “We were treated more poorly that the cargo that travelled with us.” (See 90) This is seen through the “manhandling” by the guards and the fact that they were separated from the Caucasians, whom were let into San Francisco without questioning. Upon the sister’s arrival to Angel Island the unjust treatment continues. Not only are they kept in the same clothes for 5 days, but they are forced to live in prison-like conditions. Because of classism, it is important for the sisters to wear their best dresses when going for interrogation, as “those who are well dressed leave sooner... (See 96)” They would not get in if they were farmers and looked like peasants. Sexism is repeated once again when the sisters are forced into interrogation rooms with all white men. When Pearl ...