Representation Of Asian Americans In The 21st Century

“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.

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

To be young and Asian in America is a special brand of torture. There is an unspoken dictum of silence that grips Asian youth, a denial of our place in popular culture. Asian youth walk in America not quite sure where we fit in-black children have a particular brotherhood, Hispanic children have a particular brotherhood, white children own everything else. We cannot lay claim to jazz or salsa or swing; we cannot say our ancestors fought for equality against an oppressive government or roamed the great hallways of power across the globe. We do not have a music, a common hero, a lexicon of slang. Asian youth experience personal diasporas every day.

In Streets of Gold: The Myth of the Model Minority by Curtis Chang, he discusses the stereotypes labeled against Asian-Americans and explains how the U.S. Society sees them as the “model minority”. He goes to the core of the “model minority” assumption, and shows the reader how the media heavily influences these ideas. He shows how cultural patterns within the Asian-American society fuel these ideas. Chang uses very interesting ways of presenting evidence by putting quotes within his piece thoughtfully, so that the quotes blend in with the paragraph. The author also has a humorous voice throughout the essay, which connects to the reader with the subject as if it were a one on one

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.

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

Though Asians make up the largest portion of the world’s population, Asian-Americans are one of the least represented minority groups within the United States. Out of an estimated 318 million people living in the U.S., Asians account for 5.2%, or approximately 17 million people. Compared to Hispanics at 54 million and African-Americans at 42 million, Asians and/or Asian-Americans are vastly outnumbered by the two other major minority groups and even more so by the majority, European-Americans. Even though Asians are typically considered the “model minority”, they are faced with the same issues that plague many other minority groups within the U.S. today to include stereotypes, prejudice, discrimination and ethnocentrism. There has been a history of discriminatory national policies directed at the immigration of Asians to the U.S. and in times of duress, the labeling and targeted institutional discrimination of specific ethnicities of Asian-Americans as traitors based solely on country of origin and not on the deeds and actions of said U.S. citizens (Japanese internment camps of World War II).

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.

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”.

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.

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

Asians have migrated to and have lived in the Americas since the days of our founding fathers. The first to come from the Eastern Hemisphere were a small group of Filipinos in the early 18th century that settled in present day Louisiana. The first major influx of Asian Americans was Chinese Americans who came in the 1800’s to find financial opportunity during the California gold rush. They settled in the Golden State and eventually spread out all over the United States, creating the now-famous Chinatowns that millions of Americans visit every year. There is a continual migration of well educated South Asians and East Asians for job and education opportunities and their success has formed the basis for the “myth of the model minority” (MMM). This is the idea that all people who are Asian American and Pacific Islanders (AAPI) are successful both socioeconomically and educationally. This does have a logical basis rooted in statistics—AAPI students are reported to have higher grade point averages, math scores, and overall standardized tests scores on tests such as the Scholastic Aptitude Test (SAT) and the American College Testing Exam (ACT). Other studies often use a racialized rhetoric comparing Asian Americans to white Americans in terms of education and socioeconomic status while contrasting them to the so-called “lazy” and “incapable” Hispanic and African Americans.

     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