No Escape

Enstad mentions words such as “invisible” (57, 58), “unanticipated” (61), and “threaten” (60). These words indicate the unknown which stirs a sense of terror among her readers. The unknown remains a mystery, and there is no way to predict its movements. By doing so, she underscores the direness of the spread of this toxicity by pushing against this fear. Enstad even blatantly acknowledges the emotions she’s evoking by jeering that after reading her essay, readers might want to “sanitize one’s own environment” (63). As an author, she empathizes with her audience’s thoughts on her essay which allows her to relate to her audience thus, igniting a need to take charge and further analyze this toxicity that plagues Americans. It is common for a community of people to begin scrambling for solutions to an issue when the danger is imminent compared to a future problem. On the other hand, Kim’s article not only brings together a community for a common cause like Enstad’s but, she appeals to a different emotion through her use of a history strand. Kim’s history strand consists of phrases such as “imperialism” (3), “political turmoil” (4), and “immigrant” (4). She motivates her Asian American audience to unite due to the shared histories of the community. The cultural roots of Asian Americans are not often portrayed in American media and is not commonly discussed. Kim

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,

All day long Orloff had paced his cell. The blackness of the sky outside was equaled only by the blackness of his thoughts. The deep rolling of the thunder reverberated through the thick stone walls of his prison, and every now and then a fitful gust of rain swirled through the tiny broken window, wetting his face as he stared out into the night. Orloff cursed, wiped the water from his face with his grimy fingers, and turned to pacing his cell once more.

“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.

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

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.

After completing your movie analysis, you will reflect on the analysis process and how you have learned to more thoroughly analyze film as well as how rigorous study of film enhances your development as a student and thinker. In this 300- to 600-word reflection, review your initial post from the “Post Your Introduction” discussion in Week One, and consider how your ability to analyze movies has changed or grown. Append your reflection to the analysis portion of your paper. Your reflection should be personal and exploratory in

17. Identify major historical developments in world cultures from the Renaissance to the contemporary period.

The media’s representation on ethical/racial and colonial illustration is not always accurate; there are many stereotypes and critics always find something to be false. Realism also plays a big role in representing in what critics believe. (Shothat 178)

Movies produced in the later half of the twentieth century still suffered from stereotypes set by films from years ago. In Year of the Dragon (1985), Tracy Tzu, despite being a professional newscaster, was also portrayed as seductive and mysterious, “manhandled and dominated by the Caucasian hero, Stanley White, as he overpowers her and carries her off to bed like a trophy” (Rajgopal, 2010, p. 149). These stereotypes of Asian women in film feed into the stereotypes of Asian women offscreen, and being perceived as exotic and submissive contributes to a higher risk of sexual assault, as if they are somehow “asking for it” (Rajgopal, 2010). The portrayal of Asians matched with the progression of history showed America was projecting its fear and othering Asians through media. If Asians are not portrayed in a stereotypical role, then they are given no role at all, rendered invisible by Hollywood and the masses. Because the West was not hugely exposed to the East, “the easiest way to generalize Eastern people was to build fictional characters of an extreme” (Wang, 2010, p. 86). Asians were not talked about, and when they were, it was through caricatures and

I will use four to five articles in my essay to show what roles Asian Americans get in the Hollywood movies. In general Asian Americans students are most academic achievers but when it comes to act in movies they are stereotyped and their English accent is used as foreign accent even thorough they are born American. I will give all the information that is used in media about Asian Americans. In the movie when a Caucasian movie star lies to be an Asian American. When the director know about that he is lying he is not an Asian he a Caucasian they start fighting and for the race. But he becomes a famous star in movies later on. After a while the director heard that his friend who is the Caucasian star’s girlfriend. He meets her and explains her and says, “I think he make you fool do you know he is not an Asian? He lied you for everything but she didn't listen and she starts arguing with his friend. Yellow face gives us a unique understanding of Asian stereotypes.

Orientalism itself is internalized by several western mass media journalists or scholars through unconscious processes (Alatas, 2012). Several IR scholars, from Europe and the U.S., gain their knowledge from Western literatures and lack of knowledge or experience about Eastern, in this context is Asia, situation and perspectives. This method of research has shaped the inaccurate analysis on Eastern Issues. Also, the experts of IR usually obtain supporting information from the Western mass media which are composed by Western journalists similar to what Posen had in his paper.

In brief, this study discusses about the representation of orientalism idea which is portrayed in the film Avatar. The film tells about the conflict between human and native people in Planet Pandora, where human exploits the land and oppresses the native. This study explores in what way the idea of orientalism is represented and how both narrative and non-narrative aspects of the film helped in delivering that representation.

Film is a series of artistic moving images that make up a story. In every film, the director visually presents the storyline, different characters, the problems they encounter and how they were deal with. There is a wide range of ways to study films of various genres. We focus on film language, genre, mise-en-scene, representation, stereotypes, etc. In Black Girl, it was depicted as an allegory and had a lot of mise-en-scene.

I want to research whether portrayals of Orientalism in the media are used to retroactively justify decisions such as imperialism or the Vietnam War. I chose this topic because I found Edward Said’s theory of Orientalism very thought-provoking and wondered if it can apply to contemporary society. In addition to that, I have not seen a lot of contemporary analysis on Orientalism of Southeast Asia. My initial inspiration was when I watched the film No Escape, which seemed blatantly racist and problematic. I narrowed and refined my topic by further researching the concepts of Orientalism and otherness, and considered how they could be applied to this film. Sources that have been key in defining my research topic include scholar articles on Orientalism