Hollywood's Asians Essay

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

Of all the problems Asian Americans face that Ronald Takaki mentioned, it seems that the “Yellow Peril”, “Bamboo Ceiling”, and “Model Minority” are the major issues. The hysteria of Asians are going to takeover the United States is such arrogance. In addition, the notion that Asian Americans are having the most success in America is completely overblown. Moreover, the misrepresentations that all Asian Americans are not leaders or have poor communication tendencies are wrong. These stereotypes have negatively affected Asian Americans and it still being used today. Ronald Takaki believes that those three major issues “Yellow Peril”, “Bamboo Ceiling”, and “Model Minority” are cause of Asian Americans discrimination.

culturally inaccurate. At the time, Asians were still very much underrepresented in film and many

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

During WWII and around that time period things got pretty heated towards different races, Chinese taxi drivers were bashed and when they would be selling their goods at markets to get money to even survive they would

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.

The Chinese immigrants were stereotyped as anti-white. Henry Grimm, in his 1879 play, entitled “The Chinese Must Go”, attempted to show the racism of the Chinese toward white Americans by writing the following dialog for a Chinese character: “[W]hite man big fools; eaty to muchee, drinky to muchee, and talkee to muchee” (Doc. A). The dialog reveals the hatred the Chinese had against the whites. This stereotype generalizes that the Chinese looked at themselves as being superior to whites. The tension between the Americans and the immigrants separated them, and eventually lead to the Chinese Exclusion Act.

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”.

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

We’ve spent so much time in our class on various racial issues seen in the United States of America. It’s our national sport, in a way, it’s always as if there is only one side: nonwhites. But this is one of those binaries where you need both sides to make sense of it. When comparing Asian Americans in America during mid-19th century and the turn of the 20th century, there were many similarities and differences. One way in which they were similar was most Asian Americans intended to work hard, make a lot of money, and then return to their families and villages as wealthy men or stay and fulfill the American dream because this goal didn’t differ from Asian Americans from many immigrants who came to the United States. One way in which they were different was that many white/ European Americans looked down on all immigrants, but Asian Americans were considered racially as well as culturally inferior because most Americans believed that Asian Americans were too different to ever assimilate successfully into American culture. This view was expressed and reinforced by the stereotypical “imaginations” and “images” of Asian immigrants in the 19th and 20th century.

The Term “yellow” is ironically crucial to the reader’s perception of why the main character, Danny, is so fearful of his ethnic identity. Even though Danny cannot escape his “Korean-ness”, he instinctively insists upon rejecting his ethnicity, pursuing a “colorless”, life in America. Don Lee’s short story, “yellow”, illuminates the struggle of Danny, whom like many later generational Asian Americans attempts to assimilate into overall American culture, only to be constantly rejected. One’s ability to consume and digest this cultural dismissal can determine their ultimate mindset, this concept is highlighted by the conversation between Danny and his wife Rachel, “No stereotype is innocent” (Danny to Rachel), she replies, “Racism’s not the problem. It’s you” (pg. 249). In this instance, it can be realized that it is both society’s as well as Danny’s perception of his Asian identity that are misguided. Due to American society’s racial insensitivity, Danny finds himself filled with paranoia, unable to trust those around um, and even himself. It is only through eventful encounters/relationships that Danny may overcome his fear of “yellow”, seeing not only color but the humanity behind it.

     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

This idea points back to the analysis that Mina Shin makes in her article, that productions of Japanese culture in film will no doubt fall to the pressures of “American narcissism and white superiority” (pg ). The Last Samurai makes it apparent that Western ideals will always be the bane of traditional cultures as they threaten to overcome