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AAST355: Asian American Films - Coggle Diagram

- - - - The hyphen suggests that Asians will never be completely accepted as Americans (in between two cultures), whereas the without the hyphen, Asian Americans are Americans with Asian heritage
      - This contributes to how Asian American Cinema is defined as it can create confusion and lead people to think that it is a product of Asian Cinema AND American Cinema rather than Asian American Cinema
    - - Asian American Cinema movement signifies the movement where Asian Americans worked together as a community to share media in efforts to challenge misrepresentation and invisibility in mainstream media - the reading says that there is a difference between "Asian America Cinema" and the "Asian American Cinema Movement" where some filmmakers believe that Asian America Cinema was just a period of filmmaking instead of showing their cultural diverse presence - this part still confuses me a little bit (p. 35)
  - - - This statement signifies that film can be used to shape and reinforce racial stereotypes and societal norms and also cultural acceptance/citizenship
    - - The words "American imaginary" really stood out to me because it comes to show that Asian American films produced through Hollywood studios portrayed Asian Americans through the POV of Americans which was often inaccurate or negative. This makes sense as to why many Asian American filmmakers tried to make films through independent cinema in response to Hollywoods depiction of them (redefine their identities)
    - - I think this can be interpreted in different ways: (1) representation/stereotypes (especially race) in films can influence how people view a group, figure, or filmmakers in the real world in relation to social hierarchies and racial treatment (2) this can lead back to production power - some Asian American were produced through independent cinema (not as well funded) so it was difficult for their films to become popular (even though they were better representations of those communities) whereas those that got the help from Hollywood studios were able to have a bigger audience but those representations could be negative or unauthentic
- - - - Stereotypes are just generalized images of groups of people (typically in a negative lighting) that are presented as self-evident (created through behavioral or physical tendencies and beliefs) and require repetition to stand rather than actual proof - constructed through ideologies and imaginaries which ties back to Desai's text about how Asian Americans are framed through an American imaginary (always in the superiority's favor)
    - - I believe the notion of portraying colonized people in a "rigid and unchanging order" gives the colonizers more authority over the others since they are setting an identity for the colonized (no dynamic or flexibility)
    - - Ambivalent stereotypes - combination of negative and positive aspects - being high on one dimension while being low on the other (warmth vs. competent). Some people may thing positively of one group while other people may not based on personal experience
      - Ambivalence in stereotypes can lead to different views of groups/people especially a group of people say in a film are portrayed in a way that is not entirely accurate and then people can have mixed feelings towards certain groups which leads to marginalization and discrimination
    - - This statement relates back to what Desai says about looking at representation in films beyond the connotations of two opposing sides and instead thinking about them in regards to power and how stereotypes come about to rationalize power -> colonizers use stereotypes to give themselves power over the people that they colonized
  - - - Arakau's change in fashion (western -> asian)
        
        This change in fashion signifies his change in behavior/attitude against Edith - he is portrayed as a gentleman (the hero that saves Edith from her negligent husband) in the Western outfits (suit and tie), but there is a drastic change in his personality when Edith tries to buy off their sexual agreement - he is portrayed as an evil and deceiving villain in his exotic Asian outfits
        
        This fits the stereotype that Asian men are two-faced and cunning (they have ulterior motives behind their actions)
      - We see Richard laying his eyes down on Arakau and Edith getting out of the car together after finding that Edith has bought more gowns and didn't pay the maid (8:25-9:20)
        
        Richard is jealous of Haka and sees that he is not really carrying out his role of a husband and spending time with her
      - Edith is introduced as a spoiled wife that spends a lot of her husband's money on her own wants
        
        The audience is meant to hate her in the beginning for causing all these problems and not listening to her husband and not recognizing her husbands efforts to bring her happiness/money
      - In this scene, we see that Edith drops her fan in nervousness about the funds that she has stolen and BOTH Haka and Richard reach to grab her fan, however Richard is the faster one and gets to it first (16:17)
        
        Could be foreshadowing that Richard and Edith end up together in the end (West vs. East) (interracial relationships)
      - Haka shows Edith his branding tools (18:20)
        
        In a lot of Asian cultures back then, branding was prominent and signified ownership. This scene signifies that Asian cultures have an obsession over possession - sort of an exotic practice compared to the West
        
        Edith also somewhat was fascinated by all the exotic sculptures/art that was in Haka's room
        
        Follows the stereotype that Asians are exotic, mystical, and can seduce/fascinate Whites
      - "If you keep me here - I'll kill myself" (32.!8)
        
        Edith is saying that she would rather sacrifice herself than be with Haka which is very extreme, but is signifies that she doesn't want to be with the Asian man once he showed her his real side
      - Rape and branding scene (32:54 - 33:25)
        
        This is the scene we see the real intentions behind Haka and he used aggression to get Edith and fulfill his sexual desires - this follows the stereotype that Asians are a threat and dangerous/evil
    - - The judge declares Richard as guilty at first, but once Edith shows off her branding and tells the judge about Haka's attempt of rape, the crowd rages and the decision is reversed (51:02)
        
        There is a switch to how the audience feels about Richard and Haka - at first we believe Haka to be the hero and Richard to be evil since he didn't care for his wife, but the roles are switched
      - The ending is in favor of the Western community - reinforces Asian racial status in society and Western dominance
    - - Asian man and White woman
        
        White man and White woman end up together
  - - - Rape - "pose the danger that the "pure" but hopelessly fragile and childlike white woman will be "ruined" by contact with the dark villian"
        
        Follows the stereotype the Asian men are evil and threat to Western culture/society
        
        We see this in "The Cheat" - Haka literally tries to rape Edith
      - Captivity - "threaten to make the white heroine a permanent part of an alien culture"
        
        We see this in the branding scene of "The Cheat"
      - Seduction - "possibility that either the Caucasian women or man will be tempted by the eroticism of Asia and will turn her or his back on Western Christendom"
        
        Follows the stereotype that Asians are exotic and mystical
      - Salvation - " posit the white hero or heroine as an irresistible moral force that "saves" the Asian lover from the evils or excesses of his or her decadent culture"
      - Sacrifice - "justify white domination by depicting the Asian lover as willing to sacrifice his or her own culture and nation, and often to die, to maintain white American dominance"
      - Tragic love - "maintain racial divisions by forcing the lovers to separate"
      - Transcendent - "allow the lovers to "spiritually" overcome social barriers through their love, which forces the suppression of any "aberrant" ethnic or racial characteristics
      - Assimilation - "nonwhite lover completely relinquishes his or her own culture in order to be accepted into the American bourgeois mainstream"
    - - This goes back to our discussion in class about how all these stereotypes were formed "behind the scenes" without much evidence but just through imaginary or ideal images
        
        Films and discourse have a such a huge influence on how society is built and ordered
    - - This shows that Asians, Asian Americans, and Pacific Islanders were easy targets for Americans and they were just exploited to steer away other racial tensions - they were viewed as inferior
    - - In "The Cheat", Edith and Richard end up together romantically even though there was a relationship between Edith and Haka. This helps portray white dominance and eliminate the yellow peril and miscegenation
    - - It's interesting that these stereotypes and views on Asian Americans/Asians stem from a sense of fear rather than superiority
    - - This relates to how Asian stereotypes were formed, because these stereotypes developed based on Western views on the East rather than observations or truth
      - In many films, Asians/Asian Americans were portrayed as exotic, mystical, and supernatural in which often times white characters would be fascinated by their culture and nature
- - - - White man and Asian woman/girl
        
        White man and White woman end up together
    - - Asian woman are seductive and fascinating/exotic to non-Asian men
        
        Lotus flowers seems fascinated and curious about American culture and language as well as she tries to use it herself - sort of giving up her Chinese culture (9:41) in which she says that she "converses only in American language"
        
        (21:02) Lotus Flower is crying in front of Allen when he says that she cannot go with him, making him feel bad for not taking her
      - In the film, it shows the Asian woman having a negative view on American man as they tend to "forget about their Asian wives" (10:40)
      - "You're what they call in clever American language -- 'Cats'!" (10:54)
        
        Lotus Flower believes that the Asian women that try to warn her about American men are being deceiving or sneaky using the 'cat' metaphor
      - "That's just it, Allen; she is different --" (13:09)
        
        Allen says that he feels as if Lotus Flower is different from other women, but the two men with him thinks that she is different because she is just a different race. They believe Allen is just fascinated by her exoticness (trying to deny the fact that he loves her) - interracial relationships weren't popular or looked down upon
        
        They show a cut scene of a white woman (well-dressed, more attractive) and then they go to show a Asian woman showing the difference between the two races
      - Lotus come out in a "chic" American outfit when she comes out prepared to go to America with Allen (18:43)
        
        This goes back to how she is giving up her own culture to live an American life (she changes from her Chinese traditional style of clothing to American fashion)
      - Asian woman are loyal (Lotus flower waits for Allen to come back to her) waiting endlessly for his return - tragedy for Lotus Flower when she feels forgotten and abandoned and since Allen ends up marrying a white woman
      - Portrays white women (Elsie, wife of Allen) to be sympathetic, letting Allen go back and visit Lotus Flower (47:00) - it wasn't his idea
      - The bath and changing of clothes (son's transformation) (44::00) shows the transition from Chinese culture to American culture - doesn't want his son to mix the two cultures together - American culture is superior (she wants him to live that life cause it is supposedly "better")
      - Allen's wife wore green while Lotus Flower wore red - signifies racial difference
    - - The scene where Allen rips the flower (17:40)
        
        Lotus flower gives the flower to Allen (showing her love for him) but since he rips the flower up, its signifies that he does not accept her love). The flower represents Lotus flower, but he rips the petals off the stem signifying that their relationship should not be. Before he rips the flower, he looks at the flower in a mesmerizing way as when he looks at Lotus Flower
      - The sea is sort of a barrier between the two people and what keeps them separated
    - - Technicolor 2 (red and green)
    - - Sacrificial narrative - she gives (kills) herself up for Allen/American dominance - she feels as if she is not worthy to marry Allen
  - - - Princess Ling Moy first appears in an extravagant dress where a white man praises her for her performance. On the poster, it says that she is an "Oriental Dancer" as well. She is portrayed as exotic as many Asian woman are stereotyped as. (2:31) Another spot where she is described as exotic is by the Petrie's (6:10)
      - The stereotype of Asians being devious, mysterious, and evil with supernatural powers is portrayed when Fu Manchu appears to have come back to life from the dead in Dr. John Petrie's office. (Yellow Peril and Asian Mysticism) (10:00)
      - When Ronald and Ah Kee discover Fu Manchu's dead body and find Ling Moy in distress, she tricks the two men into feeling sympathetic towards her which follows with the stereotype that women are seductive. (24:20)
      - Ronald is fascinated and attracted to Ling Moy (he moves to her seat and puts him face really close to hers) (26:00)
      - Ling Moy made an oath in front of her father that she will be a son to him in order to carry out Fu's revenge on the Petrie's and the way she is doing that is through a cunning scheme where she will betray Ronald and kill him. This goes back to how in the The Cheat, Haka is portrayed as a two-faced Asian man that has ulterior motives. This brings out the stereotype of Asian men having ulterior motives and are deceiving. (27:40)
        
        She does the same thing to get rid of Ah Kee. She tries to charm and seduce him. (45:30)
      - "A stupid son is better than a crafty daughter" (39:23) - sexist remark in which men are still inferior to women no matter their traits
      - It's interesting to see that an Asian man is on the side of the White man which shows ambivalence in stereotypes. Also, Moldoff (white man) is helping Ling Moy.
      - West vs. East
        
        Asian women are seen as inferior to Western women
        
        Scene where Ronald is fascinated by Ling Moy's beauty and exoticism. She compares herself to White women as if she is not good enough for him like other women.
    - - The golden dragon symbolizes great power and that is what was on the death threat papers. (9:27) There was racial fear of the Asians back in the day and Fu Manchu symbolizes it.
    - - White man and Asian woman; White man and White woman; Asian woman and Asian man
    - - Ending: Ah Kee and Ling Moy die holding hands which signifies that relationships should be of the same race and interracial relationships never/should not work out (?)
      - All the characters that do die in the end are all the Asian people in which shows that films show tragic endings to the Asian race and end in the favor of the white people in which is a common pattern in Asian American films in the past. (Sacrifice over Assimilation)
  - - - In Daughter of the Dragon, Wong plays the role as a "dragon lady" - she is a monstrous female figure that takes on a masculine task of killing for the sake of her father and culture by using devious methods (p. 24)
    - - "Personifying naivete and self-abnegation, Wong's characters conveniently "elect" suicide so as not to mar the future happiness of their white lovers and their white fiances, in the process consoling Western audiences with a fantasy of colonial power over the ever-yielding East" (p. 24)
        
        Way to reinforce Western dominance over East, reduce yellow peril
        
        An example is in The Toll of the Sea, Lotus Flower gives herself up to the sea which signifies that she gives up Allen to Elsie - by her own choice
    - - "The 'dragon lady' stereotype portrays Asian American women as deceitful, domineering, and sexually alluring, reinforcing a narrow and harmful image that limits their representation in mainstream media." (p. 67)
        
        This highlights the damaging effects of dragon lady stereotypes , which casts AA women as manipulative and harms women in restricting them to roles of "women." This harms women in making it difficult for them to be seen as multifaceted individuals with complex experiences.
  - - - This relates back to the Yellow Peril in which the West feared the East and how the West did not want to associate themselves as similar to the East, but rather different.
    - - This goes back to Bhabha's reading about thinking beyond binary ideas. Instead of looking at color as a characteristic of race, we should look at how it is used to create racial stereotypes and differences.
    - - This shows that what was considered normal and natural in film and society was based on race. This also shows that the west had cultural dominance since those that didn't have "flesh tint" were rendered as "other"
    - - The film can be seen as 'realistic' because it follows cultural stereotypes and the dominant Western ideologies of the East - portrays Lotus Flower as an exotic through colorful scenery and attire (she is a decoration) with a tragic ending where she gives up everything for Allen including herself
    - - One example is how Lotus Flower is always seen besides flowers and foliage in which she blends into the "natural environment" which separates her from the norm of the western people that are clearly not blended into the background - Lotus flower is portrayed as an ornament in the film
        
        This is different to how Elsie is portrayed in the movie - there is a clear difference in how the two women are dress and the color of their clothing always contrasts to each other (red and green)
      - Another example is when Lotus Flower's son is transformed from being dressed in colorful Chinese attire to a white sailor suit after being bathed - symbolic transition from Chineseness to Whiteness as Lotus Flower gives him up to her white lover and wife
- - - - This shows that yellowface influences/reinforces stereotypes especially how Asians are seen to be exotic and mystical
      - "yellowface technology, like all technologies, has been used to create new realities."
        
        "yellowface can also be understood within the framework of Orientalism as a visual representation of how the "Orient" was imagined by the West" (p. 6)
        
        This relates back to how Asian American stereotypes are a representation of the Western imagination or ideological images of the race - specifically in a negative way
    - - Protesters criticize casting decisions of white actors saying that they are privileged and that yellowface take away opportunities from Asians and Asian Americans (p. 2)
        
        ASIAN EXCLUSION AND EXCLUSION ERA
        
        During the Exclusion Era, yellowface became more popular since it was a "tool of exclusion" (p. 8) - the performances of yellowface actors portrayed Asians/Asian American in a "caricatured, distorted, and ridiculous" (p. 8) way which influenced how the Western audience viewed the Asian and Asian American community
        
        There is no authentic/real representations of Asian Americans and instead were stereotypical representations of Asian Americans -> undesirable, dangerous, strange, alien, and threatening -> reason for exclusion/fear
        
        "Performers did not mirror reality" (p. 13)
        
        Yellowface affected different races/ethnicities in different ways
        
        Asian: Negative; Non-Asian immigrants/Non-white actors/African Americans: Positive
        
        Yellowface was a gateway to becoming "white" actors and raise their racial status in society as well as in the acting industry since yellowface actors were taken more seriously - as a tool of inclusion (p. 9)
    - - Compared to blackface, it was more normalized and "less offensive" - defended with reasons of art
  - - - South Asian/Americans were portrayed as comical and harmless group of people which helped in diminishing their threat to American in comparison to East Asian/Americans
        
        Model Minority - refers to a minority group that are viewed in higher degree than other groups
        
        It reduced their threat to American society, but it also often complemented American identity and values
    - - This follows how Asian Americans are misrepresented in media and are mainly exploited for the entertainment and dominance of Americans
      - In the for South Asians, they aren't even really seen as people, but more so objects of comedy/entertainment which fits the idea of racial otherness - "an object of desire and derision" (p. 23)
    - - "India as a mystical place with religious cults"
      - "India as a foreign geographical landscape that emphasizes the difference between the poor and the wealthy"
        
        "productive ambivalence" - Bhabha
        
        American filmmakers use brownface and brown-voice to portray "others" in ways that are appealing and entertaining, but at the same time the performances involve mockery and ridicule which helps them feel superior and have a sense of control over South Asian/Americans
        
        This is done through specific roles in films and repetition
      - "depicts the primitive hordes and rebels in the northern fronteir of India defying and rising up against the heroic forces of the British India Army"
    - - "associated more often with cultural artifacts and practices than with individuals or a people"
      - "depicted as sources of comic amusement"
      - "displaced into alternative times or into different genres to avoid discussing the realities of the present for immigrants"
- - - - Suzie Wong is depicted as an exotic, alluring, and mysterious woman. This reflects the stereotype of the "exotic Asian woman," who exists primarily as an object of desire for Western men, reinforcing the idea of Asian women being exoticized and commodified for their beauty and sexual appeal.
        
        This relates to the "lotus blossom" stereotype
      - Suzie's Vulnerability and Knight in Shining Armor
        
        (34:00) This scene captures the first time Suzie is called up to Robert’s room and poses as a model for his painting.
        
        In the beginning of the clip, we see that Suzie is almost childlike as she runs up to Robert’s room ready to fulfill his sexual desires. In the end, she is disappointed and humiliated when he tells her that he does not desire any sexual activity, rather just for her to be a model for his artwork. Her being ready to have sex with Robert shows that she is “sexually available” which is a stereotype of Asian Women expressed in many Asian American films.
        
        The fact that he wants to paint her shows his fascination to her exotic, “oriental” beauty. We see a contrast between him and other white men in the film. Other white men such as Ben just use the Chinese women only for their sexual pleasures, making his desire to channel his attraction for Suzie through art very noble and moral. In this way, Robert is portrayed as someone that can save Suzie from her morally questionable lifestyle.
        
        Submissive Asian Woman Stereotype
        
        (1:32:00) This scene is when Robert gifts Suzie an “Chinese empress” dress to try on for him.
        
        Western Fantasies
        
        One thing that Robert says in this clip is that Suzie in her traditional Chinese attire “will make him famous” as he hands her the dress and later on we also see that his first painting sold is of Suzie Wong. This shows that the West is fascinated by “oriental” beauty enough to buy a painting that captures it.
        
        Another important moment in this clip is Robert’s gaze in awe when Suzie comes out in the dress. In the reading paired with this film, Feng talks about how Suzie’s traditional chinese clothing allows Robert to see her image as an Oriental first, making her image as a prostitute invisible. This statement reinforces the Asian Women stereotype of exoticism and sexually alluring because in that attire, Robert only views her through an Orientalist lens, limiting her identity.
        
        This can all be connected back to our discussion of the Western imagination of Asian Women because Robert paints Suzie and dresses her in his ideal image of her as an “oriental” woman, objectifying her in a way.
    - - (1:21:00) This Scene Suzie Wong comes out to show Robert with a westernized dress on in which RObert strips her of immediately
        
        Reinforcement of Exoticism: When Suzie wears a Western dress, it symbolizes her attempt to assimilate into Western culture. Robert's violent reaction to her attire underscores the idea that she is more desirable and "authentic" when she conforms to the exotic, traditional image of an Asian woman. This reinforces the stereotype that Asian women are only valuable when they fit into the exotic and submissive roles expected by Western men
- - - - Cultural Rebellion and Assimilation: This scene symbolizes Mina's desire to break free from the traditional expectations of her Indian heritage. By leaving the wedding function, which represents cultural and familial obligations, and going to a modern club, Mina is asserting her individuality and desire to integrate into Western culture1. This act of rebellion highlights the generational and cultural tensions that many Asian Americans experience as they navigate between their heritage and the broader American society.
        
        At the end, Mina steals her uncles car and takes it to be with Demetrius which shows another act of rebellion but this time it is for love
    - - Indian and Black
        
        (40:00) Mina & Demetrius Relationship: This relationship faces scrutiny and prejudice from both communities, highlighting the racial tensions and cultural expectations they have to navigate through in which they do in the end when they challenge the social and cultural norms
    - - Connects back to the shame thing from Saving Faces - this is where there is the internal conflict due to generational gaps or different views on societal and cultural norms
    - - Sense of Belonging and Displacement: Jay's statement underscores his deep connection to Uganda, despite being forcibly expelled from the country. This highlights the emotional and psychological impact of displacement on immigrants. For Jay, Uganda represents a place of belonging and identity that he struggles to replace in his new life in Mississippi
  - - - Illustrates the challenges faced by queer Asian Americans in navigating their identities within a conservative cultural environment
      - This scene shows the stereotype of Asian American communities/parents being conservative and less accepting of LGBTQ+ identities in which they believe it isn't "normal" - Wil's fear reflects the broader issue of cultural stigma and pressure to conform to heteronormative expectations - this scene highlights the intersectionality of being both AA and queer (more complex in identity and acceptance)
        
        Challenging Model Minority Sterotype and Social/Cultural Norms
    - - Bringing Shame to Family
    - - This scene highlights the pressure on Asian Americans to excel professionally and academically which reflects the Model Minority stereotype
    - - Addresses the stereotype of Asian American communities being insular and sometimes harboring prejudices against other minority groups. Hwei-Lan's reaction to Jay highlights the complexities of racial dynamics within immigrant communities and the need to confront and overcome internalized biases.
- - - - This scene contrasts Bobby’s and Changez’s descriptions of this particular event, depicting the brown peril stereotype.
    - - Racial profiling is explored post-9/11 - This scene illustrates the shift in Western attitudes towards Muslims and South Asians following the 9/11 attacks. Changez's experience of racial profiling and discrimination highlights the deep-seated prejudices and fears that emerged in the wake of the attacks. It underscores the fragility of his acceptance in Western society and the impact of global events on personal identity.
    - - The music shows that he is going back to his culture and roots, before it was American music (he felt that he was an American)
      - This scene marks a turning point in Changez's journey, as he begins to reconcile his Western experiences with his Eastern heritage. The contrast between Lahore and New York highlights the differences in cultural values and lifestyles. It underscores Changez's internal conflict and his struggle to find a sense of belonging and identity that encompasses both his Eastern and Western experiences.
  - - - Similar to Yellow Peril but different in how the peril is formed (out of fear of threat and violence rather than out of fear of control and skill/intelligence) - brown peril is part of the "model minority-yellow peril spectrum" (p. 248)
      - Brown Peril Narrative Discourse -> Suspicion/Incredibility of Brown people already discounts their testimonies and narratives
    - - diversity in corporate culture -> assimilating into dominant cultural norms rather than retaining and sharing one's cultural differences
  - - - Confronting your identity/culture
        
        the whole movie is sort of a big metaphor where you should accept ur own culture instead of running away - resolve bad relationships (mom and tamira)
      - Wanting to assimilate into American Society
    - - Use of space, jump scares, main character having delusional thoughts and vision, isolation, darkness
        
        repetition of explaining the demon when asking for help (tamira and sam vs. sam and joyce)
      - (1:05:00) Confrontation with Demon - This scene is the climax of the film which involves Sam confronting the demonic Hindu spirit that haunts her. This scene blends elements of Indian folklore with Western horror genre, symbolizing Sam's reconciliation with her cultural identity
        
        This confrontation represents Sam's journey towards accepting and embracing her cultural heritage. By facing the demon, which is rooted in Hindu folklore, Sam acknowledges the importance of her cultural identity. This scene serves as a metaphor for the internal struggle many immigrants face in reconciling their cultural roots with their current environment, ultimately finding a balance between the two.
        
        Navigating a multicutlural identity
    - - Sam's efforts to assimilate into Western culture by distancing herself from her Indian heritage reflect the broader struggle of balancing cultural identity with the desire to fit into a predominantly Western society. This tension is a central theme in the film, illustrating the challenges of cultural integration.
        
        Internal conflicts and generational gaps
  - - - Couple receives a robot baby to trial before adopting a real child, during their trial they realize that sometimes children can be a lot to handle and take a lot of work to take care of
    - - (34:30) - Stereotypical Asian parent disappointment in their children - the mom wanted the son to fit the perfect Asian model of success
      - Parent doesn't understand their children, but understand her son later by trying to connect with the things he loved
    - - Robot is treated with disrespect or are scared of it (the robots are trapped in an oppressive environment with very little free will)
        
        White collared workers are like robots specifically Asian Americans.- characteristics of being obedient, smart, and efficient (functional model and not a human being) -> model minority -> robots are inhuman
      - (51:40) (53:26) - Men touch the female robot inappropriately and the women touch the male robot inappropriately - sexual harassment (the robots are being objectified - although they technically aren't human)
      - (58:00) Robots (Asian Americans) are shown to be able to develop feelings from learning from humans - we see that there are tears falling out of the female robot
    - - With scanning, people are able to interact with those that have passed, but in reality they aren't real
        
        The sculptor is asked to be scanned, maybe so people can use his artistic visions in the future (turn him into a robot)
      - The clay sculptor has trouble letting go of his wife because of the new technology and embrace the real world
      - (1:00:12) (1:15:30) The replay of the scene where the sculptor is grabbing clay from the river but starts sculpting in different places (art room vs. by the river) is important because it shows his acceptance of moving on to reality
    - - Similar to Yellow Face (as a technology) in changing an actors appearance to be of different "race"
    - - "Asian Americans are Robotic"
        
        Asian Americans are portrayed as laboring machines
  - - - Similar to saving face where their is a lesbian couple and its hard for parents to come to terms and agree with their daughter's relationship (here it is the grandfather) - shameful to be not "normal"
        
        A lot of overlap in dialogue between mom and daughter (as if being ignored) -> shows that there is trouble in the familial relationship
    - - Asian American children sometimes aren't fluent in their parent's language
        
        (21:38) Asian American kids tend to be their parent's translators because immigrant parents are not always fluent in English
    - - (8:10) Stereotype of Asian mom being the runner of the family
      - Evelyn is sort of lost in her identity as she is struggling to meet expectations in different roles as an immigrant mother, wife, and business owner - she feels as if she is "failing" in all her roles which is what leads to her existential crisis
    - - The ending of the movie overall challenges the Model Minority stereotype (similar to Better Luck Tomorrow)
- - - - Highlights positive attributes such as hard work and dedication, it also places immense pressure on Asian American students to conform to these high expectations. This can lead to stress and a lack of recognition for their diverse talents and interests outside of academics.
        
        Ben and his friends do "criminalistic" activities sort of as a way to escape this Model Minority expectation and this is what leads to major tensions and conflicts in the film
    - - This scene challenges the Model Minority stereotype by showing that Asian American students are not immune to the same temptations and struggles as their peers. It highlights the duality of their lives, where they feel the need to maintain a facade of perfection while grappling with personal issues and societal pressures. This complexity adds depth to their characters, breaking away from one-dimensional portrayals.
    - - This scene further subverts the Model Minority stereotype by depicting Asian American characters involved in criminal activities and moral ambiguity. It challenges the notion that Asian Americans are inherently passive or law-abiding, presenting them as complex individuals capable of both good and bad actions. This portrayal pushes back against simplistic and reductive stereotypes, advocating for more nuanced and realistic representations.
- - - - Symbol of Fragmented Memory: The repeated, fragmented clips of Tajiri filling the water canteen symbolize the fragmented nature of memory and history. Just as the clips are incomplete and disjointed, so too are the memories of Japanese American internment. This fragmentation reflects the difficulty of piecing together a coherent narrative from scattered and often suppressed personal and collective memories
      - Reconstruction of History: By showing these fragmented clips throughout the film, Tajiri emphasizes the process of reconstructing history from incomplete and often unreliable sources. The act of filling the water canteen, a mundane and repetitive task, becomes a metaphor for the painstaking effort required to gather and preserve these memories. It highlights the challenges of documenting a history that has been deliberately erased or forgotten
      - Personal and Collective Healing: The final scene, where Tajiri shows the entire clip of her filling the water canteen, represents the culmination of this process. It signifies the completion of the narrative and the integration of fragmented memories into a coherent whole. This act of bringing the fragments together symbolizes personal and collective healing, as well as the reclamation of a history that has been marginalized
  - - - This scene highlights the pervasive stereotypes of Japanese Americans as the "enemy" during World War II. Hollywood films of the era often depicted Japanese people in a negative light, reinforcing xenophobic attitudes and justifying the internment of Japanese Americans. By contrasting these clips with personal family images, Tajiri challenges these stereotypes and humanizes the Japanese American experience, emphasizing the disconnect between media portrayals and reality.
    - - This scene addresses the stereotype of Asian Americans as the "silent minority," whose voices and stories are often overlooked or marginalized in mainstream history. The fragmented nature of the family narratives symbolizes the challenges of reconstructing a history that has been suppressed and forgotten. Tajiri's use of these personal accounts highlights the importance of oral history in preserving and understanding the experiences of marginalized communities.