Please enable JavaScript.
Coggle requires JavaScript to display documents.
AAST355, perpetual outsider, representative of Asians as machines and held…
AAST355
-
Week Two: 9/9 :
-
The Other Question: Stereotype, Discrimination, and the Discourse in Colonialism (ARTICLE)
-
-
Week Four
-
When Dragon Ladies Die, Do They Come Back as Butterflies? (ARTICLE)
-
-
-
-
-
-
-
-
-
-
-
representative of Asians as machines and held to a different standard from non-Asian coworkers. they were only valued for the work they produced and ignored otherwise, even ostracized
pg. 232 "presumed to astute, hardworking, and obedient, Asian Americans have been promoted as the minority ideal."
Asians are not valued unless for their work, but not inherently as humans. they are only seen as beneficial when they make so-called "contributions" to society.
-
-
archie works very hard to prove himself as useful and worth value, but this does not make him more valuable in the eyes of his coworkers.
later bob asks archie to stop interacting with non-Asian coworkers because it has been freaking out the others and keeps him within the box of being a laborer and only good for his work ethic (like the model minority myth)
-
titular phrase. very robotic and inorganic. similar to the robotic way that Asians are portrayed as if they are a repetitive machine that does not offer anything but labor
-
the excessive use of violence - possibly to combat and break the stereotypes of asians being the model minority. raises the question of whether it was overdone
-
Especially going with Better Luck Tomorrow - it was a way to subvert the model minority myth and submission/asexual way that Asian men are viewed. however, at the cost of going completely the other way and being extremely violent.
-
treating of Asian women still remains the same. like an object or prize to be won. Asian women still seen as submissive
very different character archetypes shown within the film. usually asian characters are shown as either nerds or undesirable because of the role they inhibit within the film/show
-
-
-
-
interesting to see and categorize films in this way - especially when people tend to complain about the representation that is shown in first cinema
thought it was an interesting note that people had so much to say about fresh off the boat - even though it was a start to including representation, it was not what people wanted and so they complained. it is definitely a good point that FOB is used in a derogatory way, but as a show that is attempting to rewrite the viewpoint of asian americans, it felt fitting.
-
first cinema - maximizing profit / second cinema - independent cinema but still constrained by major studios (think like A24) / third cinema - democratic, participatory, socialist
-
colonial discourse. the stereotypes of asians and asian americans. the colonizer is both scared of those it colonizes (therefore tries to control them) but also DESIRES THEM! and so also results in control, so they can own and have them on their terms
-
the little chinese girl: keeps her infantilized, she does not grow past just being a helpless little girl. also related to the submissive nature of asian women that is often stereotyped on them
-
image of sexualized asian woman. first thought was that it was not pleasant to see because as an AA Woman, it perpetuates the widely accepted notion of submissive women, used for bodies and sex, etc
-
-
suzie versus her nerdy friend - leaning into the two polar ends of asian stereotyping: submissive sex appeal and nerd. related to article of only being nerdy
-
Sessue Hayakawa being a sex symbol was surprising to me as many films/understanding of AA suggest, Asian men are portrayed as not having sex appeal
-
there's a big sense of trauma that the film's creator seems to be carrying that is not her own. she seems to be showing the burdens that were cast on her grandparents, parents, and now herself. i wouldn't go as far to say generational cycle, but definitely a generational trauma that has seeped into the cracks of everything
-
the abrupt image splices and usage of black and white juxtaposed with the color in the film kept me engaged, as what i imagine the film is supposed to do. because it is so starkly contrasted - which i feel like could go into how the US wants to be portrayed (colorful) versus the actuality of the somberness of these camps
-
measuring success through money. i thought it was interesting because money is traditionally a marker of success, especially within asian communities (with immigrant backgrounds), but it was in a completely opposite way than how a doctor, lawyer, or other jobs typically associated with asian americans - which could be me putting asians within a box
-
throughout the movie, even though it seems like robert is being shown to be the good man who does not want to objectify or commodify her - her even being the muse of his work as an asian woman rubs me the wrong way. his initial attachment to her is not as a person but as a visual work of art
-
the fact that they had to "get rid of the baby" so that suzie and robert could be together without the attachement of an asian baby or attachment to the asian world was... interesting. it didn't even seem that suzie was that sad
-
i thought it was interesting that it it emphasized the importance of each character's viewpoint from their background introduces a new understanding of being asian american, and also tapped into the thought that asian american films either work to exaggerate stereotypes or combat/expose them
-
even positive portrayals of trying to break out of studious asian american stereotypes and into more humor/comedic based portrayals can be seen as negative because of how polarized and still negative it could be. it almost invites more opportunities for the character to be made fun of - and it's okay because they're the class clown/comedic relief
-
lotus flower: another name given to asian characters/women to emphasize their exoticism and fragility - further perpetuating the submissive fantasy of the west about asian women. also she was never given a name?
-
allowed for a lot of autonomy within the movie. he had a lot of leverage in filming. i wonder what hollywood's motive behind this was?
icon bruce lee. possibly the introduction of martial artists as a way for hollywood to now incorporate asians into their media.
-
wong does not really have any autonomy in the movie. she is driven or pushed by her father's values even after his death. not independent - submissive asian woman who will submit to the will of men whether it be patriarchal or romantic
-
starts with testimonials and following a grainy video format. it seems almost edited so that the effect of it is dramatized. it could just be the time, but it felt appropriate and leaned into the time period of when i-hotel was alive and well.
-
kicking out people with no/little notice. commercialization of spaces that can be used by the white majority.
white savior/guilt complex of white man who seems to be apologetic towards having to take down the i-hotel. made to look more favorable
-
the tenants are mostly elderly and people who have been in the US for a long time, but still unable to receive proper housing or were treated well enough to be considered American
-
talked about prevention of filipino women immigrating until 1965 causing hindrance to the proliferation of filipino american communities. interracial relationships very prevalent
talking badly about women. while focusing on the struggles of aging asian population of those who lived in i-hotel, also misogynistic.
-
photos used when breaking into the i-hotel of black and white and overlaying with audio of smashing and eviction notices is very somber compared to the colorful images and videos used of when tenants actually lived there
-
surprisingly political - directly goes against the "peaceful" and submissive version of asian-americans that is paraded as model minorities. interesting that the tenants and elderly are seen as nuisnaces for not wanting to move out and not as people. model minority as a commodified version of the people
-
Haka was portrayed as a villain - very different than model minority. interesting to think about intersection of other races at this time. during this time period, black and hispanic populations still were subjected the most racist viewpoints, but because they were also not featured in films very much - did they use asians as a stand in?
-
-
courtroom scene: the white men who are seen as so composed and put together were so violent and barbaric. important to note it was CAUSED by the other - an asian man. people who are outsiders upset the majority, pushing a xenophobic agenda
-
focus on the "american" husband. dressing to impress american men, or just other women within the film making a big deal about the american-ness of allen. placing importance on whiteness and being western. shedding of eastern values - especially when she loses her baby, last tie of familial values which is important to asians
-
very raw depiction of living in the projects as a teenager. combination of survival but also just living life
-
-
No fancy editing, very raw and fresh perspective. a lot of narration is done during the shooting of the scenes rather than the post-production editing with voiceovers
-
Inclusive of every perspective, not spliced (e.g. when he is crying. not cut out but included) 28:38 - kept in even though it's pretty personal. even talks about familial conflicts and missing family. showing raw depiction of immigrant life in america
-
nuclear family formation idea - while the movie seemed to red herring as a diverse and inclusive film, it seemed more like fetishization because of it's focus on the asian culture
-
interesting that she listed chan is missing, better luck tomorrow, and everything everywhere all at once - shows what people might value or focus on in "true" representation. really disliking the model minority myth and so turning to a more complex narrative where breaking stereotypes in the form of violence or queerness (not traditionally associated with AA) would "shock" audiences out of that association
-
i like the point about the shift from fixed identity to hybridity and contradiction. all people are so much more complex than what you would believe
-
familial duty and filial piety over breaking tradition and loving joy truly. this is seen when evelyn chooses to hide the fact that Joy is a lesbian and in a committed relationship with becky. the obvious family tensions
-
tradition vs modernity clash - evelyn is still heavily influenced by her chinese background and way of thinking, while joy is less so (shown by her broken cantonese and use of mandarin, even while not being mandarin/mainland chinese). i thought the use of broken cantonese made it very obvious of the divide, which feels like a direct artistic choice, but i wonder what it would've been like if Joy was able to speak cantonese well, but still have western values?
-
asian american activism is then a way for a collective cultural identity and citizenship to be created especially for a community defined by thier otherness and being away from their homes. this could also be the reason why people tend to be so critical when there might be a negative view
-
Asians are not allowed to create outside of their duties. similar to model minority view outside in the real world
-
both robots start to mimic the environment around them, and parrot the phrases that have been said to them. one phrase: "they could have put a bigger rack on her."
-
familial love is within the context and framing of humiliation and control. mina is humilitated for her relationship with demetrius and kept under the control of her parents. one scene that sticks out to me is when she yells at her parents and says that she is 24 but still home.
demetrius shows an outside world for that - true romantic relationship rather than a simple cultural/arranged marriage (that mina's parents want for her)
-
-
the importance of reputation and filial piety is a very heavy theme within this movie. there seems to be a very delicate and heavy nature of balancing personal and familial reputation.
-
saving face is the exact thing that makes people miserable within the movie.
wil is afraid to express her love for vivian at the airport and so misses the chance to kiss her and be with her, in order to SAVE FACE
-
"only certain forms of queerness are rendered legible, while both queer and racial difference continue to exist as coupled identity markers targeted by the nation-state and other isntitutional entities for violent regulation."
gay and lesbian relationships are consumed heavily as a trope in media and also as a genre in manga/books, but in real life it is looked down upon or not celebrated, only when regulated by those who are not apart of the community is it more "acceptable"
-
felt less like they were shedding the feminine way that Asian men are made out to be and instead just create a new stereotype by intentionally being very violent or crass
-
use of blending technology in faces. very clearly different people and ethnicities, yet asking the question of if they really look the same? (they did not)
-
black and white that felt like a slideshow akin to mugshots. as if Asians do not deserve identities outside of either workers or criminals, could also be likened to going through headshots for resumes, as if it were a process of going through a machine.
-
Whitewashing is seen as becoming the white self or persona in a different racial story/other. whitewashing is used as a phrase a lot when non-white people are attempting to emulate a white persona in order to fit in. however, it is largely used in a derogatory way when really it is more of a survival skill developed by creating an "otherness"
-
being conscious of "color" is necessary in roles where the race of the character is important to the storyline or background of the character. in other stories where it might not be necessary, AA should be casted or allowed to be casted in order to create a more diverse environment
-
the assignment of any label whether it is a positive or negative, it still creates a box in which a role or character is placed into which feeds into racial stereotypes and potentially pigeonholing an entire race of people into a single role
-
mentions Wong's characters always choosing to commit suicide in order to take herself out of the picture of the white character's happiness. similarly seen in hayakawa's characters who are painted in a bad light to take himself out of the white character's happiness.
interesting to see that the female characters are submissive and choose to do so, while male asian characters are painted as villainous.
makes me think about how asian women are seen as prizes but can be controlled. likewise when asian men are with white women, they are seen as "taking" white male's preferred selection of women (speaking to a new issue altogether of ownership and not seeing women as people but as objects
-
-
ends in an upbeat way and starts in an upbeat way which is such a big juxtaposition to the rest of the film. definitely thinking about how asian struggles and just within this movie that it was brushed under the rug. the white perpetrators didn't think of it as a big deal, just a simple inconvenience to their lives. made me sick. especially hearing vincent's mother vocalize her heartbreak and seeing it on screen
-
-
this movie somehow makes white women/white people the focal point. it utilizes the asian aesthetic and then effectively kills it - shows that it is okay to engage in "orientalism" but it isn't forever. just an aesthetic and can be discarded once you find the forever
-
the AA diaspora and experiences are so diverse and large - trying to fit them into a single box is almost like trying to create a definition of what an AA is or "define" the experience.
-
stereotypes are set into place as a form of control. once set they must continue to be perpetuated and emphasized in order to maintain it's hold on society. if questioned, it will break down in argument, so it must be made into such a strong statement that it cannot be questioned - this is where it draws its' power from
-
yang's desire to be known and connect with people - like the desire to be seen as a person if an Asian
-
asians are simply viewed as machines that are useful and as tools, not as humans. it limits Asian humanity and also prevents genuine connection to other communities outside the Asian community
-
pertpetual outsider!!! especially if this is accepted by the majority in a foreign/western environment - almost impossible for Asians to also not accept this way of thinking. they have to fit into the mold or risk being expelled from the corner of life that they inhibit
-
people think of movies as just entertainment when it also serves as commentary for life and stereotypes. it also serves to break them. this could be harder because so many people (depending on their backgrounds) see movies differently. if one person takes the movie superficially - as a good story - because it doesn't relate to them, they will obviously see it differently than the minority whose entire life would be similar to a movie commentary about social/racial class
-
-
if we think about previous films and old movies - relied on the visuals to set people apart, as people became more assimilated into cultures, they had to use another medium of differentiation - voice! emphasis on indian/ethnic accents when traditional dress no longer was a typical form of differentiation
-
just because accents are considered "funny" it does not diminish the harmful nature of the minstrelsy. it makes it more normalized in pop/common culture and has made racism more "acceptable" to everyone
-
Still observes and interrogates social problems and government lack of support. seeking asylum as a refuge - showing how the government is still unsupportive of immigrants
Allows the viewer to relate more to the film’s premise - very first-person and experience based versus the retrospective perspective the other films adopt. Less of telling a history and more of a current present.
-
-
-
-