Asian Community in Modern Day Media

Imagine a distant post-apocalyptic future in which a group of researchers discovers a stack of DVDs of 20th and 21st century Hollywood movies of Asian American actresses. After watching those movies, what might the researchers conclude about the characteristics of Asian American women in the movies? Certainly, they will view Asian American women as sexual and erotic objects of the society that white men can score with ease. Why do I assume they will think that way? The answer is a simple, yet controversial one: mostly, the media, as the history proves, portrays Asian American women either as erotic sex slaves of white men or as insidious personalities who lure their prey into a trap with their sex appeal. If we look into the history,

Today, when society talks about diversity, often times, Asian-Americans are brought into the conversation and are talked about as highly looked up to individuals, but they haven’t always been this way. On television, many times, Asian-Americans are represented as “nerdy” and “socially incapable/awkward”, Asian-American males are mostly shown as being weak and stereotypically awkward, while Asian-American females are either shown as “exotic” or also stereotypically awkward and nerdy, as stated by Takaki in his book Strangers from a Different Shore on page 479,

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

roles would be lost to Caucasian actors so as to resonate with American audiences. It is

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.

directors have stated that they cannot well-finance their film if the name of their leading actor is not mainstream name (Kim). White Americans during this time too, probably believed that if Asians were casted in the film, it would not be as good as they did view Asians as inferior in every way including in the performing arts. Even when Asians actors were casted to play Asian roles, Asian Americans would go out of their way not to watch. David Henry Hwang, who would later go on to write his own version of Flower Drum Song, said as a young man growing up in the sixties, watching how Asian characters were featured made him feel “icky”. All the Asian characters that he saw were either portrayed in an unrealistic or comical way or as a character that was dependent on the leading white character (Hwang). It made it hard for Asian Americans to look to media for role models when they were hardly ever represented and represented in inhumane ways.

Individuals in this world tend to be judgmental, and judge people in groups instead of the personality. Yet, in the article, “Asian American and Stereotypes”, Denise Wong Peck claims, “As Asian American, we are too often judged not by our individual characters, but by stereotypes” (Peck). Peck explains that as Asian Americans; people do not see Asians as individuals but rather as copies; since Americans assume Asians are all good at the same thing. For example, some people assume that all African Americans are good athletes. This is a common stereotype to explain the reason

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”.

Throughout history, the media has been known to be influential towards how individuals of society perceive the world and their environment. This influence can lead to people creating prejudices towards those who are highlighted by the media. It also has the ability to change the attitude of one person towards another class of people and stereotype them in positive, but mostly negative ways. One population that has played victim to the repercussions of the mass media is Asian Americans, who have been oppressed and deemed a minority by Americans. The media’s portrayal of Asian Americans has had detrimental effects on one’s opportunities, performance, and their perception of the world.

Casting Asian actors as both a romantic lead and action hero challenge representation of Asian American masculinity, a figure incapable of love and unequipped for sexuality

     Another stereotype depicted in the film was that every Asian character spoke flawed English. Not one single person through the film had a perfect grasp of the English language. This provides the comical relief in the film as any Asian man at any time could pronounce a word wrong or use the wrong word to the bemusement of the film watchers. The broken English that is used by the Asian characters in this film seem to heighten or display the fact that the Asian characters have visible flaws. The Americans never have to display such flaws, in fact the only part of the movie where an American attempts to spoke Japanese it is completely flawless, without hesitation or pause.

Have you ever wondered what happens to the Asian villain who only have less than three-minute show time in the movie? Awesome Asian Bad Guys is the first feature-length movie released in 2014 by National Honor Society perhaps has the answer. This film pays tribute to all of the Asian American actors and actress who have roles as bad characters in classic movie during 80s and 90s. It also examines the lack of representation for Asian American in media well as combating stereotypes.

He’s not the Asian journeyman on a mission, he’s a cowboy (with a knife speciality). Again, this is an Asian character in a role usually off-limits to people that look like him (or, well, me) getting to do things associated with the role that usually doesn’t happen. This doesn’t mean that there’s anything wrong with, say, Shanghai Noon, where Jackie Chan plays an Imperial Guard on a mission in the old west who’s more martial artist than cowboy. The problem comes when every single narrative about an Asian in that time period is that narrative. So getting to see an Asian character be the quintessential American cowboy — dude, that’s dope as

Used for comic relief, these characters share many similarities to amplify their funny factor— their “hilarious” names, their incapability to speak or even seem attractive to the female gender, their ignorance of anything that isn't math or science, their butchered, exaggerated accents. And these similarities are exactly where the problem lies. Chow is Chinese, Koothrappali is Indian, Nguyen is Vietnamese and Lee is Korean. Yet the characterization of these characters, which conveniently neglects to incorporate their completely different nationalities and their respective cultures, is exactly of the same collective “Asian” personality. As if an entire race of people could be boxed into a single type of personality.