How Do Asian-Americans Receive An Aquatic Preferences?

Nevertheless, Asian-American stars are recognized extremely played prototypical roles offered to them – model minority, sexualized the female or masculine women. There is much argument within the Asian American community whether to consider Liu as a protagonist or a hateful. In playing highlighting sexuality roles such as Ling Woo on Ally McBeal, a role who is a ‘self-described “tramp” … simultaneously addicted to casual sex and uses sex to have her way with men’ (Goldsea.com 2008). Is she bolstering the sexploitation of Asian females, or is she an Asian image who plays her strong points? Moreover, there are already some problems in the critical writing as to whether Liu is to be considered an action star or an actor. Some argues that, in Charlie’s Angels

Asian-American author, Amy Tan, reflects in her personal essay, Mother Tongue (1991), her perception of language and ethnic identity through an employment of anecdotes and repetition. The history of Asian-Americans goes back to the nineteenth century when thousands of men left their families and homes in China, as well as other Asian countries, to seek their fortunes in the United States (Huntley 21). The Chinese, forming the largest Asian immigrant group, “became the first Asians to experience institutionalized discrimination when the Chinese Exclusion Act of 1882 was passed by Congress, barring the majority of Chinese from entering the United States” (Huntley 21). International and domestic factors during the Cold War finally prompted the abolition of the quota system and the passage of the 1965 Immigration Act (Lee 3). Amy was born in California in 1952 to parents who had emigrated from China several years earlier (Huntley 1). As a second generation American, Tan’s parents wanted her to have “American circumstances and Chinese character” (Huntley 2); to her traditional Chinese parents’ dismay, she fully embraced the dominant American culture outside her home. Through the dual lenses of her American identity and her ethnic roots, Tan creatively shares her own experiences with language and emigration, while exploring the many facets of biculturalism and the challenges of integrating two distinct cultures.

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

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.

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”.

From Chinatown to Monterey Park, Asian Americans across the boundaries of Los Angeles are flourishing from bustling inner cities to middle class suburbia. The suburban life style was originally created by white Americans for white Americans however in today’s suburban cities and towns there seems to be a substantial group of Asians and Asian Americans thriving in these once predominately white areas(Li 1993, 318). The development of Asians and Asian Americans in the suburbs occurred through the following three ways, first is the development of Chinatown and how it became the Mecca for immigrants and the second is Asian American assimilation into American society. The last reason is the gentrification of towns such as Chinatown, and Little Tokyo.

The United States is known to acquire more opportunities and to allow people around the world to make a better living for themselves and their family. As many migrated over to the U.S., immigrants found themselves going through economic hard times. The most dramatic turn of the century was during the 1920s with the emergence of second generation Asian Americans. Although some Asian Americans were born in their homeland, coming to the U.S. at the age of six still classified them as Asian Americans as they were raised within assimilation of America. Second Generation Asian Americans experienced America more than their parents ever did and that caused a lot of concerns and tension between them and their parents. The Second Generation Asian Americans experienced tension between their parents with the emergence of the second generation, the influence of the American culture, creating their own paths and future, and the racial discrimination while growing up.

Discrimination appears to be prevalent throughout all four of the casting scenarios. Based on the fact that all roles were gender specific, the Title VII laws stating that a person cannot be discriminated based on sex was violated in each of the four scenarios. Moreover, the first and third casting calls also show further disparate treatment towards applicants due to the racial and religious qualities that are required for the parts. In scenario one, using the word “Jewish” obviously is calling for a person of a certain religion to audition for the part which violates Title VII; and because the notice calls for the person to be a mother, sex plus discrimination is also a point

Rhonda L. Callaway’s article explores the idea that Western orientated human rights are not suited to Eastern Asian societies. Callaway discusses how Asian societies prefer to follow a less individualistic approach to life, instead focusing on the family and community, placing them in a position opposed to Western customs and rights. Yet, criticisms of the notion of ‘Asian Values’ are also included, one such criticism labelling it an excuse for the state to repress rights.

Chang-Rae Lee’s Native Speaker expresses prominent themes of language and racial identity. Chang-Rae Lee focuses on the struggles that Asian Americans have to face and endure in American society. He illustrates and shows readers throughout the novel of what it really means to be native of America; that true nativity of a person does not simply entail the fact that they are from a certain place, but rather, the fluency of a language verifies one’s defense of where they are native. What is meant by possessing nativity of America would be one’s citizenship and legality of the country. Native Speaker suggests that if one looks different or has the slightest indication that one should have an accent, they will be viewed not as a native of

“Big Trouble in Little China” starts with a white American character called Jack Burton, who delivers his cargo to a small town and during some free time plays card games in a Chinese market. After beating everyone at the game, he is proposed a bet by his friend Wang, and wins. Wang, not having enough cash to pay himself, convinced Jack to pick up his girlfriend Miao Yin at the airport, promising after which he would pay what he owed. Unexpectedly, a Chinatown gang called the Lords of Death abducts Miao, because of her green eyes. She becomes essential to being able to revive an ancient Chinese sorcerer Lo Pan and bring him back to the flesh. This marks the beginning of the

Liu grew up in Poughkeepsie, New York to Chinese immigrant parents from Taiwan. His Wikipedia page refers to him simply as an “American writer” as opposed to many Asian American figures who has their ethnic background noted before “American” in their description. Liu refers to himself as a “banana” where he is white by acclamation, and much like the claims of Takao Ozawa of the landmark court case in 1992—he does not physically look white. This clash would be the root of Liu’s struggle with his ethnic identity and race growing up. Liu did not grow up with a “tiger mom” in the likes of Amy Chua , but a relaxed father who spoke English better than typical Chinese immigrants and a mother who only wanted him to be a “good boy”. Eric Liu happily and completely assimilated into American culture, and it was not until after he was married in his late twenties did he begin to question his Chinese identity. For Eric Liu, his assimilation “began long before he was born”. For Eric Liu, he was completing his parents’ assimilation—parents whom immigrated to America with human and financial capital. In comparison to his peers, Eric Liu never knew how he was different aside from what he saw in the mirror because Eric Liu was raised in a middle class family.