Asian Americans And Asian American Actors

“Slaying the Dragon” by Deborah Gee is a comprehensive look at media stereotypes of Asian and Asian American women since the silent era. From the racist use of white actors to portray Asians in early Hollywood films, through the success of Anna May Wong’s sinister dragon lady, to Suzie Wong and the ‘50s geisha girls, to the Asian-American anchorwoman of today. The movie also shows how stereotypes of exoticism and docility have affected the perception of Asian-American women.

Among the stereotypes of Asian Americans, the myth of the Model Minority and Panethnic Identity are among the easiest to attribute to Asian Americans. What exactly are these stereotypes? How did they come about? Whose responsible for perpetuating these terms? And what harm are they are they doing to Asian Americans anyway?

Asian American actors and actresses are portrayed in Hollywood movies as always being the silent and yielding foreign victims to social injustice and prejudice. Whether or not these depictions are true, they are nonetheless stereotypes that Hollywood producers have come up with. According to the US Census in the year 2000, Asian Americans make up 4.2% of the entire American population, and knowing that most Asian Americans live on the west and east coast of the United States, many Americans living in central parts of this country have not really been exposed to any Asian Americans. Because of this fact, it is highly probable that most Americans get their exposure to the Asian American lifestyle only through television and movies. Even if

In his essay “Paper Tigers,” Wesley Yang discusses his own experiences as an Asian American, tying them into the larger picture of Asians functioning in American society today. Yang’s argument is that even though Asian Americans are one of the most successful ethnicities in the country, stereotypes that Asian Americans are exposed to affect the way other Americans view them. Because of personal bias and racism, human society fails to see other people for who they are and put too much emphasis on what they are supposed to or not supposed to be in America today. Stereotypes cloud people’s vision and judgment and keep some from achieving their goals because others have a pre-created

attention is that it is a struggle to be an Asian in America due to the fact that Asians

Whether it is on TV or movie screens, the faces of white actors and actresses have always been prevalent in the media. For generations, many teenagers have been exposed to countless movies with white people in major roles. Moreover, the few roles that are cast to minorities feature the characters in their stereotypical personas (Bonilla-Silva 179). Even in advertising, Asians are placed in business settings, upholding the hard-working Asian stereotype (Taylor and Stern 50). As Taylor and Stern mention in their paper, the “model minority” has made the issue of stereotyping seem less important for Asians. The majority of these actors that are examined, regardless of race, are typically middle-age and well established in their acting careers. However, there is a lack of research behind Asian youth acting and their perceived roles. To account for this knowledge deficit, I examine how whiteness influences the media to portray youth actors as individuals that stray from their stereotypes in an attempt to achieve whiteness. My research site centres around Fresh Off the Boat (FOB), a comedic television series featuring a Taiwanese family. The title of the show Fresh Off the Boat or “FOB” is also a term used to describe a person that is considered too ethnic and as a term of denigration. I utilize Pyke and Dang’s categorization of “FOB” and “whitewashed” to analyze the narrator, Eddie Huang. I chose to limit my research primarily to the first “pilot” episode where the audience is

Despite the fact that Asian Americans have been in Hollywood for decades, there are very few positive representations of them in film. More often than not, they’ve been depicted as stereotypical caricatures, and more specifically, as foreigners who can’t speak grammatically correct English. Moreover, the negative representations of Asian Americans in film has perpetuated certain misconceptions about their culture. Chan is Missing (1982) calls for more genuine representations of Asian American identities through its cast of complex characters and defiance of Asian stereotypes. The film also urges its viewers to critically think about their own notions of identity through the use of several recurring themes and filmmaking techniques.

Although Asian Americans comprise only about 5% of the U.S. population, this group is the fastest growing segment of American society. Despite such rapid expansion, Asian Americans are widely underrepresented throughout media, whether in television, cinema, or literature. Moreover, there are different stereotypes associated with Asian Americans. One of the most pervasive stereotypes details how Asian Americans are a “model minority”. In essence, this myth describes how anyone who is Asian American will become a successful individual able to achieve the “American dream”.

In his essay “The Harmful Myth of Asian Superiority”, Ronald Takaki comments on how the Asian race is perceived. He believes that the Asian race is viewed as a “model minority” and he discusses how this perception is both false and harmful. Takaki supports his stance by providing statistical facts about the Asian population in the United States. He further discusses the media’s involvement in the perpetuation (and likely, the genesis) of this perception. Takaki provides statistics that he then compared to other ethnicities in the United States to further solidify his stance. While I tend to agree with most of Takaki’s general thesis, I disagree with how he makes his points.

For 20 years, Asian Americans have been portrayed by the press and the media as a successful minority. Asian Americans are believed to benefit from astounding achievements in education, rising occupational statuses, increasing income, and are problem-fee in mental health and crime. The idea of Asian Americans as a model minority has become the central theme in media portrayal of Asian Americans since the middle 1960s. The term model minority is given to a minority group that exhibits middle class characteristics, and attains some measure of success on its own without special programs or welfare. Asian Americans are seen as a model minority because even though they have faced prejudice and

Asian Americans are a very diverse group in the United States, which include many races such as Chinese, Japanese, Vietnamese, Korean, Filipino, Indian, and many more. Birth country, ancestry, and family heritage are ways to categorize this specific group. According to the 2010 Census, the Asian American population has grown faster than any other group from 2000 to 2010 (Pew Research, 2012). Asian Americans are either immigrants from Asia or are descendants of immigrants. Asian Americans have an extensive history in the United States, starting from the early 19th Century, when many people arrived to work in agriculture, construction, and low-wage jobs. Not until 60 years ago were foreign-born Asian Americans permitted to become U.S. citizens (Pew Research, 2012). The number of Asian Americans in the Unites States continues to increase, and the top six U.S. Asian groups include, Vietnamese, Indian, Chinese, Korean, Filipino, and Japanese (Pew Research, 2012). How do Asian Americans in the United States identity? Do they identify as being American, Asian, or a specific ethnic group? It is interesting to see how different people identify themselves. According to Pew Research, a small percentage of Asian Americans, 14 percent, identify themselves as being American, while only 1 in 5 people describe themselves as being Asian (2012). Therefore, the rest of the population identifies themselves by their country of origin. I argue that all Asian Americans identify differently and

Television and film is a huge part of American culture. As the “face” of America changes, it is expected for our media to reflect it. Unfortunately, this is not the case. Since the beginning of film, minorities have been misrepresented and underrepresented. While there has been a significant increase in minority actors since the beginning of film, there is still a huge underrepresentation present in American television and film. Our media needs to reflect out diverse country. This topic is always important and relevant because race, gender, and sexuality, in general, have been issues throughout the growth of television and film. Even today, minorities are subject to

Asian stereotypes are a product of prevailing myths propagated by various media, from books, plays, movies, television, to even historical propaganda. Generally speaking, the stereotyping of Asian women often swing to extreme types: the docile, subservient sexual object, or the dragon lady. Asian Americans only make up a small percentage of the United States population and live mostly on the west and east coasts of mainland United States and Hawaii. Consequently, the rest of the American population will most likely get their exposures to Asian Americans through television and movies. Popular media exposure to Asian Americans lacks one-on-one acquaintance with Asian Americans. It hinders the process

Another reason in which how Model Minority negatively affects Asian Americans is the expectation of many Asians in modern media. In a recent report by the University of Southern California Annenberg’s Media, Diversity, & Social Change Initiative, researchers have found that out of the top films, only about 5.3% of the actors and actresses are asian. On top of that, many of the actors and actresses in these films only have minor roles.

     Asian Americans only make up a small percent of the American population. Even more significant is that this percentage live mostly on the west and east coasts of mainland United States and Hawaii; leaving the rest of the American population to most likely get their exposures to Asians through television and movies. However the exposure they have receive throughout the history of cinematography has been hardly flattering. Throughout the course of history Asians in film have been portrayed as evil or the "yellow peril" as described by others. If Asians are not being classified as evil in this picture then they are most likely the comic relief, with their lack of coordination or grasp of the English