Ghost In The Shell Erasure

A successful movie is decided by gross revenue of the movie. Most writers and directors base on the world 's histories, the reality society, and the favorite people 's style to make their successful movies. Indeed, the writers are responsible for writing the script. Once they have handed over the script that is pretty much the end of their creative involvement with the movie. The directors control film 's artistic and dramatic aspects, and visualizes the script while guiding the technical crew and actors in the fulfillment of that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Therefore, the writers and the directors are the most important people who make a successful movie. Even though, the writers and the directors are the main people who create the content of the film, they do not have a responsibility to avoid stereotyping ethnic characters in the movie because it is just the connection between the audiences and the actors or actress, it is the way to increase the business of filmmakers and the writers, and it is just the way to review the world 's history.

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.

Combined with the cultural stereotype of Asian Americans as quiet, weak, and powerless, more and more Asian Americans are victimized, solely for being Asian American. Especially since the attacks on Pearl Harbor during the events of World War II, the Japanese specifically have been singled out by American Hatred.

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.

Since the first half of the 19th century, Asian Americans have been involved in the media industry when the original “Siamese Twins” Chang and Eng Bunker became naturalized citizens of America. Roles in television and other media were scarce for Asian Americans, only available roles were very stereotypical. Early Asian American actors such as Bruce Lee and Sessue Hayakawa could only land stereotypical supporting roles in prime time television. While minority actors have progress through the years, Asian Americans in the media remains an issue. The misrepresentation of Asians Americans that continues the tendency of stereotypes and type casting. To this day, Asians Americans take on roles that tends to portray the stereotypical roles. Asian Americans becomes easily targeted and exploited from such representation. “Model Minority” Stereotype is consistently express through advertising and primetime television; Asians being nerdy: having type casted into professional roles ignoring real values and cultures, Asian women: seen as hypersexual, erotic, cunning and dangerous, Asian men: dangerous, unfriendly, master of martial arts, undesirable male partners and weak. Media representation of Asian Americans in America’s media history, continue to influence and reproduce dominant Americentric impressions, rather than the true authentic depiction of Asian American culture and behavior. Americentric stereotypes of Asian American women and men has led to limited roles of Asian Americans

In the beginning of his essay, Takaki explains why Asian Americans might seem superior within society and how this assumption has caused African American resentment towards Asian Americans. Takaki (1990) states, “Most Asian Americans live

Let’s face it. Almost all Jewish characters we see on screen are written by Jewish writers. We like seeing ourselves represented, and we love writing about ourselves. It’s the same with every minority: Asians write about other Asians, African-Americans write about African-Americans. But the reverse rarely happens. When was the last time you watched a film or TV show that centred around a minority and the writers and creative team weren’t comprised of people from the minority? Shows about African-Americans written by White people? A story about a Gay couple written by a Straight dude? I don’t think so, minorities write about minorities and majorities write about majorities.

There are many things I want to learn and get to the bottom of while researching this topic. My main question is, “Why is this happening?” Honestly, I cannot even believe this topic is actually still an issue. When thinking of movie directors, producers, etc. I would assume them to be a group of progressive and inclusive people because the artist community generally is. So, how have these people let this happen? I would also like to look in to how this misrepresentation affects the minorities of America. There could possibly be underlying psychological turmoil in minorities which causes them to feel less capable. This brings me to wonder if there is any underlying racial bias in everyone because of who is glorified in in movies and shows. In order to answer such questions, I will research to find if any psychologist have done any studies on the effects of television and film on our subconscious in terms of the representation of minorities. I am also curious how other diverse countries such as Canada’s television and film look. I will compare the United States to these diverse counties in my research in order to provide a more global view.

I agree completely with Monika’s claim that lack of representation, whitewashing, and stereotypes are the issues in American media. I think the media don’t understand the importance of diversity and how it positively impact society. In fact the author’s stated that absence of minorities in shows where set in cities that have high present of minorities population which means that there are a race better than others and that’s what is going in the media displaying white race as more intelligent, affection and other races can’t survive without the white race .In the article the one the issues with whitewashing was replacing minority roles to white actors. However, The media argues that representing the minorities as mine characters may lead to

Who’s next? It seems that the issue about race in American history never reaches an endpoint. The intersection of race, gender, contradiction has been continually crucial to shape the identity of minority American. As early as the first wave of Asian immigrants, Chinese immigrants, arrived in west coast, Asian Americans was haunted by anti-Asian movement and intense hostility. Foreign Miners’ Tax passed in 1852 was a representative of racial campaign between whites and nonwhites. The requirement of monthly three dollars’ tax intentionally crashed the earliest American Dream of Chinese immigrants who expected to lead a better life in the US. Such Anti-Asian movement was eventually ushered into legalized level. California Supreme Court declared in People v. Hall in 1854 that Chinese migrants were not entitled to testify against the white citizens in US court based on the fact that people, other than whites, could never enjoy the same rights as white Americans. Since then, Asian immigrants were subjected to numerous social and legislative initiatives that specifically targeted them on a racial basis. In David Henry Huang’s semiautobiographical play Yellow Face, he mixed his own memory and fiction to depicting an image of Asian American racial identity. In 1990, Hwang led a group of Asian-Americans to protest the casting of a white British actor as a Eurasian character in the musical Miss Saigon. However, later in his own play Face Value, he mistakenly casted a white actor,

This is because Asian Americans are represented in various ways in the media. According to the textbook article, “Asian Americans were also represented as “perpetual foreigners”, as not being from the United States, as having cultural practices that are not “American,” and as embodying loyalty to a home country over the Untied States” (Drew, 2015 pg. 170). Then again the encouraging thing is that not all Asian Americans are the same, so having various representations of Asian Americans helps show viewers the many different ways Asian Americans are. But then at the same time there is a negative consequence to why Asian Americans are represented in so many ways. When thinking about what is shown on screen Asian Americans are represented so effortlessly, meaning that the media does not think Asian Americans are significant or good enough for big roles, or to even act as themselves. An example of this would be the movie Aloha, where the director made the decision to cast Emma Stone who is a White as an Asian-American

A case in point is the story of Misa Watanabe and her deceased childhood Toyofumi Yoshizawa. Misa and Toyofumi were my mother’s students when she was working in Japan as an ESL teacher. Both Misa, a white-Japanese-Amerasian, and Toyofumi, black-Japanese-Amerasian, never knew their American fathers. Eventually, Misa was adopted by a Japanese couple from Tokyo when she was 10, however, Toyofumi remained in a shelter for the Amerasians in Okinawa and lived there until his last days. In the interview I conducted with Misa, now a print ad model in Tokyo, I was told that the image of the Amerasians (especially those who have Caucasian features) in the Entertainment industry is overwhelmingly visual. However, according to Misa, oftentimes, she feels like an object to be seen rather than a human being to be heard and understood. When I asked her how does she feel about such label, Misa says,