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Coggle Map of Asian Americans in Film By: Maritza Mercado Fall Semester…

- - - - This piece makes me think that we will never fully be able to define Asian American Film; but maybe that is okay.
    - - This piece makes me think that maybe we need to stop trying so hard to prove a certain image to the public for Asian Americans and just be. However there is always the idea that we are morally obligated to advocate for our culture.
  - - - This makes me think back to the responsibility of Asian American films and filmmakers- they have such large obstacles to fight because of how widely accepted and undefeated stereotypes remain. Oftentimes movies and comedians will profit on these stereotypes as well.
      - Interestingly, Sarkar confronts these stereotypes directly with his comedy, which has received quite the mixed reaction from the public. I think he exposes the ridiculousness of it all by confronting it in a comedic light, which further supports Bhabha's claim of stereotypes being resilient because of their inability to be justified appropriately.
    - - The audience has just as much of a responsibility as the film makers
      - I often found myself referring back to this piece in the course. remember in class, we talked about this reading in terms of the films we have watched such as the Redundant Fundamentalist. Another student shared how she felt this submission to the perspective of the movie, where the white agent is accusing Changez of being related to highly sought after criminals. Much like this student, I was easily convinced that Changez was guilty, despite the movie showing much targeted discrimination towards him. Additionally, Changez was such a genuinely inspired and hard working individual. This shows how quickly film makers can determine our perspectives for us, and this is something we need to be aware of when consuming media.
  - - - This text is very revealing in terms of how people can use details like the coloring of a film to reenforce stereotypes in order to portray a certain message. Specifically in The Toll of the Sea, the bright colors of the nature and lack of color difference in the skin tones affirm stereotypes that Chinese women are exotic. Peng points this out expressing, "the aptly named Lotus Flower is part of the natural environment" (Peng, p. 299).
      - To intertwine the content further, I find it interesting to think of this work in terms of After Yang and also compared to The Toll of the Sea, as the color technology of the movie was definitely intentional, but not necessarily to promote racialized ideals like in The Toll of the Sea. When the film After Yang showed life through Yang's perspective, it was beautiful, vivid and saturated. In comparison, the perspectives of Mika's parents seemed very somber and mellow. This contrast can also be argued to represent the harsh reality and weight of life Mika's parents experienced, that Yang could not fully relate to due to not technically having feelings (this statement in itself is debatable). Regardless of the differences in plot and intention, I find it interesting how Peng writes on color, and how we can see it applied in film over the decades.
    - - This piece stands out to me because it really focuses on the praise of direct racism being framed as comedy. This excuse for ignorance is how microagressive behaviors persist daily. Comedy is also a difficult excuse to argue against, as the idea of a 'joke' can really be morphed into whatever someone wants, because comedy is subjective.
      - I found myself heavily connecting this piece to films in the course, and I even referenced it in one of my midterm essays. Davé could not be more correct that many examples of past and current film containing Asian Americans isn't made with them in mind. So much media today continues to discriminate against Asian Americans, and the casting industry continues to award roles to non Asian actors. In class, we discussed how Simu Liu rightfully called out Hollywood for this reality. However, it is not just the responsibility of Asians and Asian Americans to recognize this injustice. The film community as a whole must work to incorporate people of color and their stories correctly, as there is only so much advocacy that can be done by Asians alone.
    - - This piece highlights a central theme of the course: the normalization of anti-Asian hate in society, particularly through media representation. Lee’s examples, such as Scarlett Johansson’s casting in Ghost in the Shell and the overwhelming 2:38 ratio of Japanese to white casting in The Mikado (Lee, p. 2), demonstrate how casting decisions not only erase opportunities for Asian American actors but also shape society’s perception of Asian identity and reinforce harmful stereotypes.
      - This piece can easily be applied to the film, Daughter of the Dragon, where the actor of Fu Manchu was a white man in yellowface. I also think it is interesting to acknowledge the fact that in Daughter of the Dragon, Anna May Wong, who is Chinese, was casted as the lead female role. The selectivity of casting represents the hypersexualization of Asian women by having Wong play the role of an exotic dancer and dragoness, whereas the lack of an Asian male character shows a disregard for their representation.
  - - - This article focuses on crediting Anna May Wong for her work, acknowledging the challenges that she faced. The most notable takeaway I gathered is that Wong's variety in the roles she played can be helpful in disproving typical Asian stereotypes in film.
      - I think that this piece ultimately shines more when read in combination with Shimizu Parrenas' work, as it contextualizes the hypersexualization of women in film. Despite the disgusting social realities I find it remarkable that Wong stood so firmly for her career. She was truly talented and deserving, and her contribution to Hollywood and cinema in general undoubtedly paved the way for Asian representation today.
    - - This piece is much different from the others because it discusses the historical context and provides a reason as to why Asian American women have been hypersexualized. I thought the overall message was very interesting.
    - - This piece sticks out because it discusses the threat to sexual desire and masculinity of Asian men, whereas many other pieces we've looked at focus on Asian American women being hypersexualized,
  - - - I think that Feng’s work reinforces the idea that the film industry has the power to shape, manipulate, and disguise messages, often presenting harmful stereotypes under the appearance of entertainment or romance.
    - - Oh makes a good point in establishing the 'triply problematic' nature of the impact of whitewashing on Asian communities. Through stripping Asian actors of opportunity, it essentially reenforces stereotypes that they are less than their white peers.
      - Another example of whitewashing which was discussed in the course was Peter Sellers in The Party as Hrundi V. Bakshi. This role not only harmed the Asian American community because of its racist comments, it also demonstrates Oh's idea of being 'triply problematic'. Giving a white actor the role of an Indian character is highly disgraceful and unfair to the Asian American community. Not to mention, the way the character was portrayed was absolutely horrendous and offensive as well.
      - This image comes from an article is relevant to the course and the whitewashing which happens in Hollywood. Please read if you are interested: https://pittnews.com/article/116908/opinions/dear-hollywood-enough-whitewashing/
  - - - I think this article contrasts with one we read previously about Anna May Wong, who was often criticized for taking on racist roles. Here, Prashad praises Lee, but it is debatable whether Wong was attempting to do a similar thing but was limited in opportunities.
    - - I like this article because it shows how independent films, unlike big studios, challenge stereotypes and provide more realistic portrayals of Asian American masculinities.
  - - - This work reminds me of our first class discussion about defining Asian American film. It begs an important question; are Asian Americans responsible for telling their own stories, and do they have the freedom to imagine beyond that, despite moral obligations to represent their history?
      - As we discussed in class, this piece by Mimura became very important in conversations regarding the different types of Cinema. This read was useful in understanding third world cinema and documentaries we watched. However, I do think it is rather difficult to classify all film under these categories (this was also discussed in class). The way Mimura wrote reminded me of Bhaba's piece on stereotypes, as they both contextualized crucial competencies of this course.
  - - - I think this piece does an excellent job showing how a loss for the Chins was a loss for the entire Asian American community. Civil rights cannot be selectively applied, and this example of not punishing true criminals encourages the idea that some lives are valued less than others. Zia’s account exposes how deeply injustice runs when prejudice shapes the legal system, reminding readers that equality means nothing if it is not extended to everyone.
      - I think that it is interesting how the documentaries Who Killed Vincent Chin and The Fall of I-Hotel had supporting contextual articles and clear documented updates since, whereas there is little known about the current state of Sokly Ny, the main character of the documentary aka Don Bonus. I think this proves a point that it often takes truly devastating situations for the public to care, and for justice to even begin to take place. Sokly Ny endured many harsh circumstances, yet little is known about his existence outside of the documentary.
  - - - Overall, this was a challenging piece, but it helps readers develop a better contextual understanding for the film Saving Face, highlighting the importance of connection, care, and imagining new possibilities for identity and community. Wil, a Chinese lesbian, initially felt nervous about being upfront about her sexuality, but once she decided to create a space for herself rather than seek approval from her family, she became the happiest and most authentic version of herself.
  - - - I did not know that Einstein played such a role in the discrimination of Asians. This article using him as an example does a great job of illustrating that even “great thinkers” held dehumanizing ideas about Asians.
      - The context this reading provides can be applied to the treatment of the Asian robots in After Yang and Machine Love. Knowing the influence of Einstein makes me wonder further why all of these directors chose Asian actors to represent the technosapian population. What does this say about societies current values surrounding technological advancements and Asians?
  - - - This reading made it clear that the film’s hybrid energy, which often feels celebratory on the surface, is actually built on unresolved histories that never fully let the characters claim a stable sense of home, no matter how much they love each other.
    - - Sohn’s reading shows how fear reshapes racial identity in the post-9/11 United States. Changez becomes a reminder that belonging can be conditional and taken away without warning.
      - I think this reading and the film The Reluctant Fundamentalist can be further supported by Hook's work and the idea that we often submit to the ideals pushed forth by a movie. At the same time, films can be useful and powerful tools to call out society for its wrongdoings. Overall, it is important to understand the greater context of these films and who the directors are, to better develop an understanding of its deeper message.
- - - - This film makes me question whether or not it is an Asian American film, as it is not really about an Asian American experience. It also depicts the only Asian characters as villains, while Mrs. Hardy (a white lady) faces no real consequences for also making poor choices.
      - This film exerts a shared theme with Better Luck Tomorrow , as it demonstrates Asians as a violent and threatening persona. Interestingly, Mr. Haruku initially uses his money and authority to take advantage of Edith, whereas Ben acts as himself. Both ultimately turn to violence in the end, and I think that is worth noting despite the plots being extremely different. Both main Asian leads of these films faced discrimination; Mr. Haruku in the courtroom, and Ben and his friends at parties.
  - - - This film contrasts to The Cheat, as the Asian American lead this time is a woman, and very powerless. Lotus is submissive and constantly accepting of poor treatment. She is always sacrificing her feelings for others (example: being okay with Allen leaving, giving up her son). This film emphasizes a narrative that Asian women are dependent on white men.
      - This film is further analyzed in Peng's work, where she discusses the intentional fine tuning of color. Peng comments that the movie "could be seen as 'realist' because it conforms to the convention of storytelling that depicts the exotic as colourful, the Orient as ornamental" (Peng, p. 297). This perspective shows how the movie's technocolorism can contribute in justifying stereotypes, but in less detectable way. Though these choices are very intentional, they can be deemed as not directly racist, which gives them power to persist and feed white narratives.
  - - - This film features Anna May Wong who was the star of the Toll of the Sea which was yet another role where she was playing into stereotypes. The industry robbed Wong of so many more appropriate opportunities. Here, she is seen as secretive and alluring, whereas in Toll of the Sea she is depicted as helpless. Either depiction, Wong is never playing a character that is not used to fuel stereotypes about Asians, and her death is always tragic.
      - Though it is not about South Asians, I think that Davé's work is relevant here, as he shares “Hollywood films were not catering to Asian Americans at the box office". This movie was not made with Asians in mind; the actor of Fu Manchu was in yellowface, and Ling Moy's character is extremely hypersexualized. This movie reenforces harmful stereotypes that justify prejudiced white ideals. To further elaborate on this Films use of yellowface, Lee's work describes how yellowface is both a historical and modern tool of exclusion. Deemed as “theatrical technology", it operates as a "political and artistic tool" (Lee, p. 4).
    - - The best example of Asian American film so far; I think that it really takes on the responsibility of showing a true Asian American perspective. While it acknowledges the struggles of social acceptance and generational trauma, it also showcases the moments of culture, joy and success.
  - - - Something I think is interesting about this film is that Robert is portrayed as a good man/ the hero but he is also very microagressive and ignorant. He also is very possessive of Suzie, so it is interesting how the movie still frames him as a good person. This is likely because the other white people who he's compared to are blatantly racist. Once again, this film shows the hypersexualization of Asian women, and it also plays into the idea of them experiencing tragedy/ dependency.
      - This movie is definitely supported by the work of Parreñas Shimizu, as she explains the historical context for the sexualization of Asian women. Suzie is extremely hypersexualized in this film, and I believe this perception of her limits the complexity to her story. She has a lot of deep emotional tension which is dismissed due to her job and the world's perspective of her, including Robert.
  - - - I see many similarities between this film and others we have watched in class. For example, in both this film and in the Daughter of the Dragon, the villain is an Asian mastermind (despite the fact that Fu Manchu is a white man in yellowface). Notably, the most compelling message for me is that Lee’s skill and discipline ultimately brought him justice. He was not driven by anger or a desire for violence; his success came from mastery and control. The illusion metaphor at the end, emphasized by the hall of mirrors, was particularly striking. I also noticed the treatment of the different races of actors. There was clearly racism toward Williams, the Black martial artist, which we did not observe in any of the other films we have studied.
      - Something I will add here is that this was my least favorite film. I felt like there was too much violence for me to be interested, and at times it was a little graphic. I do think that it is important that Bruce Lee's character was represented properly though. I thought that the scene where Lee is fighting Han in the hall of mirrors was very well done and I could definitely trace intentional moments of mise en scène. Despite this film being my least favorite, I can appreciate its importance in the curriculum and it weas interesting ot apply it to a larger context of Asian American representation.
    - - A scene that really stands out to me is when the film is flashing back from the party to the hiding of the body (1:24:20); the lighting, contrast of the music and the digging, and the facial expressions of Ben represent the sudden nature of the crime. What a great example of mise en scène. I am still thinking about all of the guilt Ben must feel; something about this movie that didn't sit right with me is all that we didn't get conclusion on. However, upon reflecting, this sort of symbolizes Stephanie's confusion on Steve's whereabouts, and Ben and his friends' paranoia for being caught.
      - This film was another one of my favorites this semester. I loved the timeline, as it felt more recent and relatable to me as a viewer.
  - - - I think this film is unique amongst the rest, because it’s the first historical and documentary-style piece we’ve viewed in this course. Its message about shedding light on oppressed people feels especially powerful in a time when history is often erased or censored.
      - The repetition of the image of her mother holding the water canteen is a good example of mise en scène, and interestingly, the water spicket reminded me of the anecdote Manjeet shares in the Untouchables film. Despite these stories being very different, the overall experience of discrimination is a commonality- Manjeet was an outcast to other people in India, whereas Tajiri's mother was incarcerated during World War II in a Japanese Internment camp. I think it is very cool to think about these two films compared to each other.
  - - - Something that stuck out to me was the dreamy melodious ending, as well as the manongs refusal to shame America for its wrongdoings. To have such a commitment and belief in a country that has constantly wronged you is so devastating to see.
      - I think this film does a beautiful job of showcasing minority community. Even in dark and unjust situations, the manongs did not let the racist and corrupt government steal their joy and love for their family.
    - - This style of film was unique in its approach to shed light on the injustices Asian American refugees face in daily life. Don's control over what was and was not showed really keeps the message personal and intentional, and I really appreciate that about this film.
      - I have a lot of appreciation for the perspective of this film. I think that documentaries can still provide an injustice to the communities which they are written on, because Hooks' explains, the director and movie crew have power over everything from the lighting, to the narrative, the the movie length. Because Spencer was able to film and chose what he wanted to show, it sheds light on the reality of his situation, which I feel should be very appreciated.
  - - - I found this documentary to be deeply disturbing. Ebens' calm nature when discussing the murder of Chin is so creepy and despicable. Whether or not he went into a bar with an intent to kill a Chinese (what he thought to be Japanese) person or not, killing a person over a small disagreement is inhumane and reckless. And based on his commentary, he obviously had racial bias and resentment towards Japanese people in his industry. It saddens me that the government genuinely claimed to have insufficient evidence to convict him or his stepson for life. Chin's mother will have to mourn the loss for the rest of her life, whereas Ebens will die without serving a real sentence for Chin's death. This is yet another example of the U.S. government unjustly serving the entire Asian population' civil rights.
      - This crime reminds me of the killing of George Floyd, where police officer Derek Chauvin knelt on his neck for over nine minutes, leading to cardiopulmonary arrest. Though Ebens was not a police officer, its another example of a white man violently attacking a person of color, murdering them, and not wanting to be held accountable for it. Both Chin and Floyd's deaths sparked political protest, but eventually lead to no justice.
  - - - It made me so happy to see queer representation within the Asian American film community, and this story was so wholesome. I truly loved this film; it was my favorite one of the semester.
      - I see many similarities within this film and Mississippi Masala. Wil and Mina both have to chose their personal and romantic lives over their parent's approval, which is fundamental to the plot. I think this a common struggle faced by children of immigrant parents, or simply just children of color.
    - - I loved this film, and as I mentioned, the live Q&A afterward was such a great touch because it made the author feel like a real, tangible person. Hearing Sarkar speak in real time, via zoom, gave more weight to the stories and struggles shown in the film. It also made me appreciate how intentional his humor is, using comedy not just to entertain but to make people think about serious social issues.
      - This was my second favorite film of the class, however I think I the personal touch of the live Q&A is what made the difference. I liked the style of Sarkar's story, it really made you feel as a viewer you understood his life.
  - - - The film highlights generational differences; Jay clings to the past, while Mina actively shapes her own future and sense of home. Something I do wonder about the plot is if it truly addresses Jay's longing for the acceptance of his home Country. I feel like most of the film is spent demonstrating how lost he feels in Mississippi, and then in the end he just settles. Though his wife is his home, I feel like he didn't quite get the ending he deserved. As for Mina, I think that it is truly insightful that her and Demetrius never end up in a location which we actually know the context of. As we spoke about in class, its representative of the idea that there will never be a space for their love in society.
    - - Interestingly, this film also shows how unresolved grief and personal trauma can shape relationships, as Erica’s inability to move past Chris prevents her from fully connecting with Changez.
  - - - I found it interesting that in this film, the robot character also has a love interest, similar to Machine Love. This connection highlights that robots can experience complex emotions, and by framing these robots as Asian or Asian-coded, the film becomes a commentary on how Asian people are often excluded, objectified, or hypersexualized, showing these social dynamics in a heightened, symbolic way.
      - Something else that I thought about after watching this film is the lack of Mika's perspective. All conversations and shots seem to mainly be through the perspective of others, whether that be her mother and father, or Yang. I believe this can be argued as representative of the parent's lack of concern for Mika's actual desire. Though she is younger, they often silenced her questions and feelings. This further emphasizes the importance of her relationship to Yang; she felt a deeper connection to him, because he made her the center of his life, whereas Mika's parents always seemed to be consumed with other things, or the idea of what is best for her. I do think this film is important though, as it sheds light on the experience of Asian adoptees.
    - - It is notable that both robots in this film appear Asian, yet the boss, who is also Asian, ignores this and sets a precedent that arguably enables the other workers to treat Archie poorly. This highlights how social hierarchies and exclusion can be internalized and perpetuated even within marginalized groups. This also connects to After Yang, where Yang struggles to understand what it means to be Asian, showing how identity and belonging can be complicated by societal expectations and perceptions.