AAST355 Mind Map
The Cheat 9/3
Richard is the only one that looks directly at the camera, suggesting that he is the protagonist
Narration - "East is East and West is West and never the Twain shall meet" (The Cheat 43:26)
Systemic Discrimination in the United States Justice System
The case is dismissed in the end and Richard and Edith receive applause as they leave the court house, demonstrating how Edith was not punished for her financial actions throughout the movie. Although Arakua's actions were not necessarily legal either, he did not receive any justice for being shot.
A panning shot shows that there is an all-white jury, demonstrating how the trial is biased/unfair
Arakua - "It is not my case - it is in the hands of the law" (The Cheat 44:31)
Representation Defined by Wealth
Richard has a high-paying profession as a stock broker. Hara Arakau is a Burmese ivory trader which is also high-paying, but the movie depicts it as a non-traditional or non-Western profession.
The title of "Ivory King" allows Arakua to have a high social status which appears to limit the amount of discrimination against him at first. However, as the movie progresses, he becomes the antagonist/villain for his actions against Edith.
The title as "The Cheat" instead of "The Cheater" suggests that multiple characters cheated on each other.
"The Other Question; Stereotype, discrimination and the discourse of colonialism" 9/3
Fixity: A form of representation that depicts identities as unchanged and suggests that complex identities, such as having multiple ethnicities, cannot be depicted as a stand-alone identity. Thus, these identities are not understood and are subject to stereotypes based on what society predefined (a historical definition).
"For it is the force of ambivalence that gives the colonial stereotype its currency" (Bhabha 95).
Bhabha suggests that we should focus on how society has allowed such stereotypes to exist rather than focusing on the stereotypes themselves. (focus on the system?)
Sexual Aggression Stereotype for Asian Americans
Arakau's branding of Edith and sexual assault of her
"Romance and the Yellow Peril" 9/5
Miscegenation: Sexual relationships between people of different ethnicities, with one usually being white (derogatory term)
Focuses on Japan, China, & Vietnam
"Asian men tend to be depicted either as rapists or asexual eunuch figures. By contrast, Asian females are often depicted as sexually available to the white hero." (Marchetti 2)
Yellow Peril focuses on the fear of Eastern cultures dominating the West, while also depicting Eastern cultures as inferior as a result.
Depicts Asian rape as a metaphor for threatening or "ruining" Western culture (Marchetti 8)
There is conflict with Hollywood's depiction of the American identity as a Melting Pot or a "homogenous, white, Anglo-Saxon, American identity." (Marchetti 5)
"Color-as-hue and Color-as-race: Early Technicolor, Ornamentalism, and Toll of the Sea" 9/10
Conflict over whether differences in color by race and ethnicity was accentuated or not
"'The reproduction of pleasing flesh tone' is the single most important goal in the history of natural colour processes and colour cinematography." (Peng 289)
Chromophobia: "The purging of colour" by attaching color to things that are alien or supposedly unusual. (creates contrasting)
Article discusses the problem of fringing and the limited array of color that a two-color (green and red-orange) process creates (Technicolor created)
Flesh tints come from the red-orange color and were made to best match Caucasian skin tones
Stereotype of multiracial/ethic relationships being problematic and not having happy endings
The Toll of the Sea depicts Chinese-Americans in relation to their surroundings (nature), making them distinct from Caucasians. (appears to blend in with their environments)
"She is so enclosed in the colourful garden and costumes that she becomes an ornament herself." (Peng 301)
Described Asian-Americans as having a yellow complexion because it signified a pallid and sickly tone (color, in the context of racial identity, is not defined but just skin tone)
The Toll of the Sea 9/10
"The garden knew she loved him, for her laughter stirred the rose leaves." (8:07)
The font for English is different from the font used for Chinese, emphasizing the two identities in the film.
Allen's clothing is more plain while Lotus's clothing is brighter, further contrasting the two. This is especially depicted when Lotus wears American clothing, which is a darker shade of green. (19:26)
Lotus Flower often blends in with her environment, either by wearing bright green and red clothing, or by wearing blackish-gray clothing to blend into the rocks at 23:11. This can depict Chinese-Americans as 'less human'.
Lotus Flower is assumed to have broken English, as is demonstrated through her dialogue and letters.
"There is the sweet mother that's come for you!" (49:45) - White women are referred to as "sweet" throughout the film, suggesting that they are given more praise/affection.
Lotus Flower makes her son forget that she is his mother to give him a better life in The United States.
"When Dragon Ladies Die, Do They Come Back as Butterflies? Re-Imagining Anna May Wong" 9/12
- Dismantling stereotypes: Describe how Asian-American stereotypes came to be and their presentation throughout Hollywood
- Refunctioning Representation: Expand beyond dismantling stereotypes and pose solutions by intervening in the network that creates such stereotypes
Wong was often depicted as a villain and victim in her roles, while also being sexualized. She was also labeled as the "dragon lady," "butterfly," and "lotus blossom."
- Dragon Lady: vengeful, masculine, white hatred
- Lotus Blossom: Asian women are depicted as fragile
- Butterfly: Asian women give up their happiness/life for the white couple to be happy
"Wong asserts that 'those roles which Asians do secure often call for stylized and patterned displays, requiring less in the way of acting than a series of directed Oriental affections.'" (Liu 26)
Wong's promotion of the Chinese film industry was intended for cultural awareness, while America used it as a backdrop, demonstrating how Asian American culture was not respected.
Accepting stereotypes for recognition, specifically with Asian American women being sexualized
Some argue that Wong accepted her sexualization by society because it defined her career.
Daughter of the Dragon 9/12
Ling Moy refers to herself in the third person when talking to people she wants to deceive
The poison Fu Manchu uses allows him to control the man, creating a possible stereotype of the mysticism associated with Asian culture. Also, poison throughout the film can symbolize power.
"My flower daughter the knife would wither your petaled fingers, gods to my ancestors, if only thou had granted me another son." (Daughter of the Dragon 18:54-19:10)
- The father accepts her as his "son" though to avenge him. However, her identity as a woman is depicted as a weakness, demonstrating sexism.
Ling Moy uses her sexuality to seduce Mr. Ah Kee (the detective) and Ronald Petrie (Sr. John Petrie's son)
"I will burn this incense [vengeance] at her prayers, the Master provided it for the weak half of her which is woman." (Daughter of the Dragon 39:53-40:02)
Chess with queen and rain foreshadow death
The two Asian-American actors in the film both die in the end despite both being on different sides, demonstrating a stereotype of Asian Americans not succeeding/having happy endings in films.
"South Asians and the Hollywood Party" 9/17
1965 marks the year when more South Asians immigrated to Asia due to the Hart-Seller Act, creating a contrast between the British interpretation of South Asians prior to 1965 (British colonial) and the American interpretation of South Asians post 1965 (model minority).
Peter Sellers plays an Indian man, Hrundi Bakshi, in brownface in the movie The Party
"Comedy tends to objectify difference." (Dave 21)
"The idea that South Asians in British Raj narratives offered a safe and escapist fantasy of racial otherness explains the limited subject matter for South Asians." (Dave 23)
Asian American narratives were depicted more because it was not seen as controversial as including other races and ethnicities. South Asians in particular were depicted as comedic characters who did not threaten American socioeconomic interests.
Hollywood told three common stories about South Asians, including "impoverished and wily villagers, mystical wise men, and either treacherous or noble natives rising up against the British." (Dave 23)
His role not only depicts brownface but also brown voice, which is an exaggeration of the Indian accent.
His character is mistaken as Native American, demonstrating how South Asians are commonly grouped together and not understood for their diverse identities.
"Made Up Asians" 9/17
Yellowface: The theatrical convention of using makeup, costumes, and visual technology to transform someone to look East Asian." (Lee 1)
There has been controversy over how black face is not accepted by society but yellowface still is to an extent.
Some films have considered using AI to digitally edit White actors to make them look Asian (Example: Scarlett Johansson in Ghost in the Shell).
Discussing the history of Yellowface and the system that put it in place during the Exclusion Era can help society ban it.
Researching the history of Yellowface is difficult as modern terminology around the subject is not the same as it was in the past.
Focuses on exclusion (with the Exclusion Era, 1862-1940) and technology
1882 Chinese Exclusion Act
"Yellowface helped immigrant actors from Europe shed their ethnicity and become 'white' actors." (Lee 9)
"Yellowface has always symbolized the foreign, the strange, the undesirable, and the excluded." (Lee 13)
"Film" 8/29
"In Search of Asian American Cinema" 8/29
The World of Suzie Wong 9/24
Stereotype of Asian Americans depicted as unintelligent vs. the model minority stereotype
It is assumed that the people from Hong Kong cannot speak English fluently, depicting them as unintelligent.
Robert says sarcastically: "We know she isn't really a human being so she couldn't possibly have any feelings. Since she's Chinese, it wouldn't matter anyhow" (The World of Suzie Wong 1:24:49 - 1:24:47).
"For goodness sake" as a polite/upper-class phrase contrasts with her lower-class status and profession
Robert having a letter of introduction to get him into places can represent white privilege
Suzie Wong: "With you it's different, I feel something in heart, it's like pretending I'm rich girl" (The World of Suzie Wong 47:19-47-28)
Having a 'nice man to beat girls up' should not be accepted, but this allows the film to separate Asian culture from American culture (make it appear abnormal)
Robert fights his temptation of Suzie through aggression and repeatedly emphasizes how he cannot have a relationship with her
"Recuperating Suzie Wong: A Fan's Nancy Kwan-dary" 9/24
"If the film is constructed in such a way that both racist and anti-racist spectators can enjoy it, then it is a truly successful consumer product" (Feng 41).
Pollyana Dialectics: A text is racist but readers do not have to agree with the racist commentary.
The film suggests that Americans are not as racist as Europeans
"Robert is able to see her as Oriental first, prostitute second or not at all. But by attiring herself in Western clothing, Suzie breaks out of her purely Oriental image" (Feng 50).
Enter the Dragon 10/1
The other female agent's name is May Ling, suggesting a stereotype around Asian American women's names
Bruce Lee's sister sacrificed herself instead of getting caught, suggesting the depiction of the butterfly stereotype
People of color face discrimination throughout the film, as shown with the police stopping a black man earlier in the film (Clouse 27:18).
The music is similar to the Mission Impossible theme music. Perhaps they got inspiration from this film?
Roberts losing the bet on the praying mantis fight can foreshadow him loosing to Jackie Chan.
This film treats women as objects as Mr. Williams is able to choose which women he wants to have for the night (Clouse 42:56).
Bruce Lee avenged his sister by killing Ohara, the man that caused her to kill herself to avoid physical attack and potential sexual assault.
"Straight Jacket Sexualities" 10/3
"Film is a mesmerizing medium for capturing the process of subject formation where men wrestle with self and group identity in owning both their lack and their macho." (Shimizu 124)
Straightjacket Sexuality: A form of sexuality that Asian American men are often defined by, which focuses on lacking masculinity and not being represented in heterosexual relationships.
According to Columbia and Cornell universities, "Among all racial groups, excluding Asian American women, Asian American men ranked at the bottom, under white, black, and Latino men." (Shimizu 126)
Shimizu discusses Eric Byler's point on how Asian American women having romantic relationships with white men can be seen as a sign of betrayal to Asian American men, demonstrating how stereotypes are present within the Asian American community.
"In a sense, within the logic of straightjacket sexuality the platonic relation turns the Asian American man female." (Shimizu 128)
Stereotype of Asian American men being depicted as friends rather than romantic partners
Film can be used to redefine Asian American men's masculinity and sexuality
Totality: Subjectivity that is known
Infinity: Subjectivity that is not yet known, depicted in Better Luck Tomorrow
Asian American men are taking a lead with directing films to redefine their identities, while women do not appear to be included, demonstrating a larger issue of sexism.
There needs to be a combination of redefining Asian American men's sexuality and depicting their individuality.
"Justin Lin's myth-making in this film includes Asian American men who claim aggression and rage - in the face of their violation as men." (Shimizu 158)
"New objectives may form in the romantic relationship where Asian American men need affirmation and Asian American women share power." (Shimizu 163)
Better Luck Tomorrow 10/3
"Our straight A's were our alibis, our passports to freedom" (Better Luck Tomorrow 12:05-12:09).
Ben was the only Asian American on the basketball team that wasn't allowed to play, placing attention on affirmative action. This can indicate how Ben's Asian American identity limits his desires.
At the party, the group of white men ask why Ben and his friends are not at bible study, further stereotyping Asian Americans.
The group's assets with drugs and cheat sheets gave them power and status, allowing them to go beyond discrimination
Although the main characters are not good people, their dynamic and wild experiences place attention on them in a non-discriminating manner, allowing for some progress in Asian American representation.
Stephanie's possible involvement in a pornographic film further sexualizes Asian American women.
Who Killed Vincent Chin? 10/17
A.K.A. Don Bonus 10/22
Mississippi Masala 11/5
"'Send them back to the reservation, that's what I say!' 'How many times do I have to tell you they're not that kind of Indian'" (Mississippi Masala 30:25-30:30)
"Cruelty has no color" - Jay (Mississippi Masala 39:26)
"What a brother. Power to the people" - Napkin (Mississippi Masala 45:10)
Mina describes herself as "Masala" because she is a mix of spices, representing her diverse background (From England and Africa, but is also Indian).
The British brought Indians to Uganda to build a railroad, possibly relating to similar historical treatment of certain ethnicities/people (Mississippi Masala 54:26). For example, this can relate to The I Hotel and how Vietnamese people came to the U.S. for economic purposes.
"Put simply, the label 'Asian' is not used in Asia - it is only used in the West." (Feng 32)
Asians are more diverse than what the West labels them as, making it hard to define Asian America cinema. More specifically, South Asian, East Asian, and Southeast Asian cultures are quite different from one another. Additionally, as there were different waves of immigrant groups for a particular country, such as having different waves for Chinese Americans, it can be hard to define specific Asian American cultures.
"Ideally, the 'Asian American' banner connotes solidarity while denoting diversity." (Feng 33)
Feng explains how 'Asian American' should not be a cultural term and rather represent the realization that different Asian groups in America had to unite due to their common political/societal discrimination.
Society often combines Asian cinema with Asian American cinema, further limiting the ability to properly define Asian American cinema.
"But where is it written that Asian Americans can make films only about Asian Americans." (Feng 34)
It is not best to define Asian American cinema based on character traits and emotions. Rather, focusing on production methods can provide a better definition as more control/autonomy is given to Asian Americans when creating film.
There is a difference between Asian American cinema, which focuses on documentary-style films from the 70s, and the Asian American Cinema Movement, which focuses on community discovery after the 70s
Social belonging and cultural representation are important aspects of citizenship for Asian Americans. Due to this, film has been helpful in achieving this representation.
Society should "interrogate film's historical and contemporary role in ideologies of racism, war, and imperialism." (Desai 93)
Rather than labeling Asian American representations in film as 'positive' or 'negative,' Desai suggests that we should look at the intuition that created such representations, the Asian American actors that portrayed them, and the audience that accepted them.
Desai says that wrong approach to take is a "two-pronged" approach where Asian Americans "must be represented and [they] must represent [them]selves." (Desai 93)
Independent film-making allows Asian Americans to produce Asian American film themselves and control their representation in film.
"Representations are made, manufactured, and mutable. Representation itself is neither positive nor negative, but is always produced through and in relation to power." (Desai 94)
"Hypersexuality of Race" 9/26
Bondage: "viewing, performing, and criticizing hypersexuality as both punitive and pleasurable, as well as political, for Asian/American women" (Shimizu 15-16)
The Reluctant Fundamentalist 11/12
"Your accent's great, it makes you sound like royalty" - Recruiter for Underwood Sampson (Mr. Attwood?) (The Reluctant Fundamentalist 17:25)
Changez gets discriminated against for needing financial aid at an Ivy League and for being an international student overall. However, he is able to show his financial knowledge to the recruiter, allowing him to gain power despite stereotypes.
Bobby Lincoln (reporter), Samir (TA)
Mr. Underwood explained to Changez that "he knew a Pakastani once that didn't drink" and appeared to laugh about it, suggesting that he does not respect South Asian culture/religion.
"You say guilty people hide. So do people who feel hunted." - Changez (The Reluctant Fundamentalist 45:18) This quote is said after two scenes are contrasted against using Bobby's point of view and Changez's. Bobby's depicts Changez as evil and someone who could have captured the professor. However, Changez's depicts himself in a more positive light and only as a professor, suggesting that Pakistani people receive negative stereotypes.
"You picked a side after 9/11. I didn't have to. It was picked for me." - Changez (The Reluctant Fundamentalist 51:32)
Changez was arrested off of the street for no reason and received stereotypes of being a terrorist.
Erica created an exhibit that was insenstitive/inconsiderate and self-victimizing herself
"Is there a Pakistani dream? One that doesn't involve immigrating." - Changez (The Reluctant Fundamentalist 1:40:00)
"Model Minority Terrorist" 11/12
America "reposition[ed] South Asians alongside Arabs and Muslims in the period following 9/11" (Sohn 233).
"[Changez] is essentially forever foreign, the enemy alien" (Sohn 235).
Brown peril narrative discourse: A story that is meant to invoke anxiety that is associated with a person who is a suspected terrorist.
Selective entrance: The emigration of skilled and talented people to more developed countries, such as the United States, to grow their economy.
Sohn describes how Changez was aware that he was given attention/opportunities in the U.S. due to his skills and knowledge, causing him to be seen as a product rather than a human being.
Underwood Sampson's corporate culture was power-based and hierarchal, while also focusing on efficiency over individuality. Due to this, Changez's role as the model minority matches this culture well.
"The student becomes a commodity that can be bought by the highest bidders" (Sohn 239).
Like how Underwood Sampson's company mission focuses on valuing companies, they also determine the value of their employees. More specifically, they do not see their employees for their "social differences and unique backgrounds" but rather for "their sameness" (Sohn 242).
Sohn explains how yellow peril and the model minority stereotype relate to one another by yellow peril depicting Asian Americans as "paragons" and the model minority stereotype depicting Asian Americans as "terrifying figures unfit for citizenship" (Sohn 245-246).
It Lives Inside 11/14
Sam appears to be uncomfortable talking about her religion, as shown when she explains what puja is to Russ. She also appears to value fitting-in over being her authentic self.
Sam's classmate has her speak in Hindi and record her, making Hindi appear to be unusual rather than a respectable language.
"Samika" is her full name but she goes by "Sam" instead, suggesting that she wants a more American name
Tamira explains that the stories they heard growing up were true, suggesting that South Asian culture is stereotyped as scary and mythical.
The mom always speaks in Hindi, while Sam always responds in English, demonstrating how the mom is more connected to their religion than Sam.
Sam explains that she does not want to be like her mom, who is "just another Desi housewife that cooks and cleans (It Lives Inside 41:50).
In order to defeat the monster, Sam had to say the chant properly, demonstrating a theme of accepting one's culture.
Sam explains at the end of the film that she learned how to draw Henna on her arm from her mom, demonstrating how she is beginning to accept her culture more.
Robot Stories 11/19 (I did a combination of the short films)
The wife sees the robot hiding in the closet like she did when she was little, depicting her realization that she is behaving like her mom. As her mom appeared to regret getting married and having children, this may scare the wife as she does not want to be a bad mother like her mom. As the robot comforts her, this can be a metaphor for mother-child acceptance, which appears to be a stereotypical challenge for Asian American families. (Robot Stories 22:00-23:08)
The mom in the second section tries to discipline her son and criticize him for not picking up his room, as if he is still present. This can be a version of the mom's grief.
"Bruce Lee and the Anti-Imperialism of Kung-Fu" 10/1
“In the Afterglow of Regenerative Violence: Third World Cinema and Asian America Media Discourse” 10/10
The mom collecting her son's remaining robot action figures can symbolize her trying to re-piece her son back together. This can also represent her attempt to understand her son since she hasn't seen him in years.
Both robot action figures missing a wing can symbolize how the mom and son could never be together again, or "fly" away together, as he has passed (Robot Stories 41:20).
Archie the robot appears to develop human emotions for the female robot and adapt overtime. Bob let him go, appearing to sympathize with the robot since he feels isolated himself.
Johnny is starting to die and can participate in a program that allows him to transfer his memories and consciousness to AI (Forever Ink), allowing him to live beyond his physical form.
Techno-Orientalism: Depicting Asia and Asians in hyper-technological terms in political discourse and productions.
Stereotype that Asia's technological advancements impose a threat to Western culture, similar to yellow peril
Asian Americans can be seen as robotic by being stereotyped for being obedient and skilled.
"The Role of Asian American Media Activism" 11/26
Lopez discusses how Asian Americans feel that empowerment can be achieved through cultural citizenship and accurate representations in media.
"Asian American media activists view cultural citizenship as a collective endeavor that cannot be accomplished at the level of the individual" (Lopez 5).
Asian American representation in media is usually limited and consists of stereotypes, isolating Asian Americans in America.
"If we look at contemporary stories about Asian Americans in the media, we see that they continue to reflect the changing roles that Asians play in American society" (Lopez 8).
Lopez explains that we should also consider advertising and online media representation as they produce narratives about race and representation.
Although advertising benefits from capitalism, Lopez argues that it can be a medium for cultural citizenship by allowing for negotiations to be made between consumers and producers.
Regarding cultural citizenship, "people can be excluded from first-class citizenship for having non-normative cultural practices, such as ethnic traditions, sexual preferences, or religious practices" (Lopez 12). Due to this, Lopez argues that assimilation should not be required to be accepted as "American."
Lopez explains that neoliberalism focuses on needing to achieve cultural citizenship as an individual, while activism allows for collective effort.
Contrast between "alien" and "foreign"
"Threats of Asian Americans as the alien coincided with imagery of Asians in American media as grotesque beasts incapable of humanity" (Lopez 17).
"Asian Americans have [also] been conceived of as foreign - transitory outsiders who merely serve to amuse and entertain" (Lopez 17).
Challenging anti-racism and anti-imperialism through activism/cultural citizenship, specifically by uniting different races and ethnicities to strengthen activism
Lopez explains that the term "Asian American" needs to be more inclusive as it historically has discriminated against South Asian communities. Additionally, the make-up activists is expanding.
Shimizu argues that we should not look at the sexualized roles that Asian American women play in a negative manner, but rather observe how these roles can give power to Asian American women to define their representation.
Why does Shimizu choose to write 'Asian American' as 'Asian/American'? Does Shimizu seek to replace the hyphen?
"The attendant moralism galvanized in response to racialized sexuality in representation marginalizes Asian/American women" (Shimizu 18).
"If the Asian/American woman cannot be imaged outside of sex, her self-formation must occur in terms of redefining sex" (Shimizu 20).
Ocularcentrism: What we visually see dominates our understanding of the world, distorting our perception of reality.
Shimizu explains that sexuality is an aspect of identity and should not be disregarded. Rather, we should look at how sexuality holds meaning in today's society.
Embrac[ing] perverse sexuality...is a political critique of the normal" (Shimizu 23).
Shimizu explains that if Asian American women receive attention in media through sexualized roles, then Asian American women should use such roles as a medium to communicate their desired representation.
"Racism with a distance": Culture is a "homogenous and ahistorical thing that can be appreciated, but...remains far outside the enclosed ambit of one's own cultural box" (Prashad 52)
Polyculturalism focuses on how culture is not historically defined and distinct but is continually evolving and overlapping with other cultures.
"Lee provided young people with the sense that we could be victorious, like the Vietnamese guerrillas, against the virulence of international capitalism" (Prashad 54).
Lee's success with Enter the Dragon and it being shot in Hong Kong comes in part from America's "cheerless acceptance of multiculturalism" (Prashad 56). This contrasts Anna May Wong's desire to incorporate Chinese culture in American film, specifically with how society was not accepting of other cultures at the time and inaccurately depicted Chinese culture as a result. Although American society was not fully accepting of other cultures when Enter the Dragon came out, progress had been made.
Immigration for Economic Reasons
"The passage of the 1965 immigration act signaled a shift in U.S. racism from outright contempt for Asians to one of bemused admiration for their technical and professional capacity" (Prashad 56).
Lee returned to Hong Kong to make films after being told he was "too Chinese" for a role in Kung Fu even though he was Asian American, suggesting that American society was not accepting of a Chinese-American actor being portrayed as a hero.
"Prior to 1969, Asian immigrants tended to hold firmly to their distinct ethnic identities and to 'disidentify' with any Asian ethnic community being politically or economically targeted" (Lopez 19).
"Amy Uyematsu at UCLA wrote, 'Yellow power and black power must be two independently-powerful, joint forces within the Third World revolution to free all exploited and oppressed people of color'" (Prashad 60).
China, Africa, and India specifically worked with one another under the Third World revolution to fight against imperialism and racism.
Third Cinema: An international, revolutionary movement containing films from mostly Latin America, Asia, and Africa in response to uniting on common socioeconomic struggles.
The Third Cinema movement is "a democratic, participatory, socialist cinema that seeks to challenge and provoke the collective consciousness of its viewers toward the revolutionary transformation of society" (Mimura 30).
There appears to be a contrast between "Third World Cinema" and "Third Cinema" due to the emphasis on film techniques for First, Second, and Third Cinema. More specifically, Third World Cinema appears to focus more on international politics while Third Cinema focuses more on entertainment and film production.
The Ethno-Communications program established at UCLA taught Asian Americans about filmmaking and how to use it as a "tool for social justice and social change," demonstrating how direct action was taken to make film an avenue to define Asian American representation (Mimura 37).
Visual Communications struggled to tell stories in a broader political context and rather focused on specific regional/local issues, relating to The Fall of the I-Hotel.
"San Francisco's International Hotel" 10/15
Activism was more prevalent among younger Asian Americans as opposed to older Asian Americans
"Starting in 1968 with a core of elderly first-generation Filipino immigrants, the anti-eviction movement quickly grew to incorporate radicalized Asian American youth" (Habal 1).
"The anti-eviction movement eventually expanded to include...civil-rights activists, labor unions, religious leaders, the antiwar movement, and the growing gay community" (Habal 3).
This demonstrates how one struggle could relate to multiple struggles if they collectively affected disenfranchised groups and those who were discriminated against.
As Manilatown stood in the way of where San Francisco's financial district would be, this relates to how wealth provides power and determines who receives attention.
"But the fact that the hole was not filled with a parking lot or office building also became a positive symbol" (Habal 4).
Although the I-Hotel was demolished, the fact that nothing else was built in replacement of it initially demonstrates how collective activism can have power over wealth. This is especially seen with the new I-Hotel that was built in 2005.
"The Transformers: How Chan is Missing Led to Better Luck Tomorrow Led to Everything Everywhere All At Once" 11/21
"The essential Asian American aesthetic is, by contrast, an embrace of both homelands and eclectic diasporic encounters" (Tajima-Pena 32).
Tajima-Pena explains that Better Luck Tomorrow allowed Asian American directors to not have to bear "the burden of representation" and could rather focus on other narratives (Tajima-Pena 33). As a result, this emphasizes that improving Asian American representation in American film comes not only from telling accurate narratives, but also being able to tell narratives not solely related to Asian American culture.
"A fight for the right to be weird" (Tajima-Pena 34)
Progress with representation by telling narratives that are not directly about Asian American culture and history
Viet Thanh Nguyen stated, "Write as if we ourselves are speaking to ourselves, and let everyone else catch up," demonstrating how telling such narratives can take time for society to hear (Tajima-Pena 34).
Bhabha explains that we should focus on the "processes of subjectification" instead of viewing depictions as "positive or negative," relating to Desai's perspective on understanding Asian American stereotypes (Bhabha 95).
Feng explains that Suzie Wong's "matter-of-factness" when facing sexual abuse perpetuates the Asian American woman stereotype of being immoral and submissive regarding love and sex (Feng 42).
Sohn explains that the need for the audience to have to question whether or not the narrative that Changez tells the American agent is true or not supports the brown peril stereotype.
The English teacher called him a vegetable, suggesting that she does not account for his living situation and identity making learning difficult
Don Bonus lives about an hour away and has to take two buses to get to school, demonstrating the struggle to receive a valuable education.
The cops did not show up when Don Bonus called them, suggesting that they discriminate against certain socioeconomic areas.
His younger brother, Touch, came back after moving to the Tenderloin district, demonstrating the lack of connection with Don Bonus's family at the time.
"It's not anyone's fault. It's the whole stupid system of this world." (A.K.A. Don Bonus 37:50-37:55)
"I don't deserve a diploma" (A.K.A. Don Bonus 48:20-48:26)
Touch getting arrested caused their mom to focus on their family more, demonstrating how even though this was a bad event, good also came out of this event.
As Don Bonus is able to graduate high school despite his poor grades, this demonstrates how he was not "dumb" but rather lacked a support system to help him succeed. Due to this, this film possibly provided the ability for him to develop that support system. Additionally, this allows him to defy the "unintelligent" stereotype placed on Asian Americans.
They do not fit in in Uganda or Mississippi, showing how discrimination/exclusion can consist of multiple levels.
Demetrius's family has never been to Africa but they are African, while Mina's family is Indian and has never been to India. This represents a stereotype around how society does not distinguish between ethnic identities and citizenship identities.
"You can be dark and have money or you can be fair and have no money, but you can't be dark and have no money" (Mississippi Masala 28:20-28:30).
As Mina remains with Demetrius at the end of the film, while her family appears to accept the relationship as well, this depicts a successful multiracial relationship and the success of miscegenation. This can also contrast previous films we watched that do not show this success, including Toll of the Sea and Daughter of the Dragon.
The white men that killed Vincent Chin discriminated against Japanese and Chinese Americans rather than all non-white ethnicities due to the blame on Japanese Americans for economic issues in the U.S.. This discrimination can also relate to the discrimination that occurred to Changez due to 9/11.
When they interviewed Chin's mom, the interviewer corrected her grammar, appearing to not empathize with her and rather depict discrimination.
Japanese Americans originally immigrated to the U.S. to get jobs in the auto industry, even having specialized work with engineering.
"They don't even let you drink tea on your lunch break" (Who Killed Vincent Chin? 18:30).
Ebens and Nitz agreed to a plea deal to move the severity of the case from second-degree murder to manslaughter, suggesting that the U.S. justice system unfairly shows leniency to white Americans.
The Fall of I-Hotel 10/15
Filipinos went to Hawaii and were considered cheap labor, demonstrating immigration for economic purposes. This is similar to other films we have watched, such as A.K.A Don Bonus.
The I-Hotel acted as a place of refuge for immigrants and created a community in America.
In relation to yellow peril, there was a stereotype around Filipinos taking jobs. This is also similar to the discrimination against Japanese Americans in Who Killed Vincent Chin?.
As the financial district in San Francisco intended to replace Manilatown, this demonstrates how wealth provides power regarding representation.
Erie County Smile 10/24
Vanessa Tran Nguyen's hosting of a Vietnamese-language variety show can relate to her trying to connect to her culture, specifically with how she viewed similar shows as a child.
The phone ringing periodically can symbolize the reminder of reality for Nguyen.
The ending scene where Nguyen stands in the water while talking to her mom can demonstrate her stuck position with trying to understand her identity as Asian American. This can also depict the distance/separation between the first and second generation.
Nguyen's playing of multiple roles can relate to her attempt to try to understand her own identity and what personalities define herself.
The camera person taking off their hat to reveal they are not a rat but instead a human dressed as a rat demonstrates the disappearance of magic and Nguyen's imagination. As this occurs when the phone rings, this can suggest that reality has finally caught up to her. (Erie County Smile 22:52)
"Yeah you did for astrology, but zodiac is different mom" (Erie County Smile 24:40-24:50).
This can show Nguyen's attempt to try to connect with her mother, but due to the difference in terms, a disconnect is still present.
History and Memory: For Akiko and Takashige 10/8
The initial setting description with having each word stay on a separate line can represent her trying to piece her memory together.
The water can symbolize how Asian American culture has always been present in America and can event act as the life-line or source of life for Americans regarding food. Further, America would not be where it is today without immigrants and the Asian American community specifically.
"There are things which have happened for which the only images that exist are in the minds of the observers present at the time, while there are things which have happened for which there have been no observers except for the spirits of the dead" (History and Memory: For Akiko and Takashige 6:47-7:00).
Contrasting dialogues that tell different stories than the videos depicted can represent her memory with trying to piece together information to form one narrative.
Disconnect between first and second generation immigrants
Key:
- Bubbled items are stereotypes/main ideas
- Items are organized by film titles and readings