Stereotypes In Shanghai Noon : Jackie Chan And Owen Wilson

     Films that are classified as being in the film noir genre all share some basic characteristics. There is generally a voice-over throughout the film in order to guide the audience's perceptions. These movies also involve a crime and a detective who is trying to figure out the truth in the situation. This detective usually encounters a femme fatale who seduces him. However, the most distinctive feature of the film noir genre is the abundance of darkness.

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

Even with her previous experiences at Beijing University and at Big Joy Farm, Wong still held some belief that the Chinese system wasn’t as bad as it was sometimes made out to be. This event proved to her that it was. “The enormity of the massacre hit home…Although it had been years since I was a Maoist, I still had harbored some small hope for China. Now even that was gone” (259). As a reporter Wong was able to view the progression of the protests in leading up to the massacre, and in viewing it understood that the Chinese people were much more independent than they had previously demonstrated over the past 50 years. She had continuously seen the Chinese people following what they were told between learning in school or with physical labor, yet this protest was one of the first large scale displays of the unacceptance of the regime by the people, and the government did not know what to do with it. But because of this, Wong was able to recognize that the people were not reliant on this way of life that they had previously been bound to, but truly could lead for themselves and take control. The massacre awakened Wong both to the reality that the government was not acting to benefit the people, and that the people were more than capable of acting for

Classic stories remain a classic because they convey a message which appeals to people of multiple generations despite changes in society. King Kong was released in print in 1932, a year prior to its release in Hollywood, as a part of the film’s advance marketing. The public of this generation easily accepted the story’s racist, colonialist, and sexist themes. Today, literary critics such as Cynthia Erb view the novel and film as representation of the early 30s and thus a resource to understand the cultural context of the times. In particular, King Kong provides a window through which a modern audience can understand and interpret racism of the 1930s.

Studying Chinese sounds hard and I bet it made this book so much more interesting. The Chinese symbols on each page they were numbers or were they something else? I didn’t realize the Monkey King was a beloved folk figure in the Chinese culture. That is so interesting your cultural background probably helped you understand the story and when you read it you probably had a different prospect than me. I read the book and thought the Monkey King part didn’t make sense

if that is bad enough, Mulan’s unintelligent and socially awkward sidekicks serve as comedic function, which alters the authenticity of the film and offended many Chinese viewers. Disney’s production team really dropped the ball when they decided to have Mulan tote around a sidekick cricket for good luck, because crickets are not considered good luck in Chinese culture and therefor they once again negatively affected the authenticity of the film, which unknowingly offended many Chinese people (Amy, 53).

The viewer sees a private eye and beautiful client. First thought, "It’s definitely another Hollywood crime drama." On the surface, Chinatown has all the elements of a film noir: the presence of a beautiful but dangerous woman, otherwise known as the femme fatale, a gritty urban setting, compositional tension (highly contrasting light and dark colors or oblique camera angles), and themes of moral ambiguity and alienation. Chinatown, however, is different. Polanski shot Chinatown with color film, and though his colors do appear especially vivid, color film precludes the contrast intensity that black and white film offers. In addition, Evelyn is not the classic femme fatale. Though Jake mistakes her for her husband’s killer at first, Mrs.

     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

In Mulan, there are a number of times where there is a constant enforcement of male and female stereotypes. The first song, “Honor To Us All” reads “A girl can bring her family great honor in one way...and serve her emperor, by striking a good match” (6:09-9:06), and when Mulan’s true gender is revealed in front of the other soldiers and general, she is told that “there was something wrong with her, [because] she is a woman!” (1:00:26). In fact, when she arrives at the Imperial City to warn her friends of the enemy’s arrival, her own sidekick Mushu reminds her that nobody is going to listen to her because she is “a girl again” (1:08:28). Throughout the film, there is a hidden message that regardless of what Mulan has achieved, women are going

Sara, I agree a lot of stereotyping is being done, but Seinfeld did not ask the Chinese man where the Chinese restaurant was at. He was asking a mailman, who would know where everything is on the street that he delivers mail to. The Chinese mailman was the one assuming that Seinfeld was asking him because he was Chinese and then turn around and made the comment about him asking the American job where the best hot dog restaurant was at. We have to be careful with the words we use because something like Indian giver, something I used all the time as a little girl, can be very disrespectful to a Native American. We want to make sure we do not intentional offend anyone with our words if we can and we should make sure that we apologize if we do

I found that the characters seemed to stereotype each other when they either were in trouble, felt uncomfortable, and / or in and aggravated mood looking for trouble. Which honestly were very realistic because when people are put in a “fight or flight” mode if they resort to the fight one, the thing that is really is easy to come up with is to immediately stereotype and make yourself feel better so yes this really can occur in real life.

The gender and feminist representations conveyed by the media are as harmful as any other kind of representations; they are easily depicted whether directly or indirectly. Their effect starts with little children and goes on to reach adults. Many film studios are devoted especially for children films, and this is the place where the magic happens, portrayals that might seem very innocent and harmless, but in fact are indirectly extremely vicious. Children grow with these assumptions portrayed by the movies, so as full gown adults they will find the motion picture representations as very normal and very acceptable, whatever they might hold in them, because of the background and the platform that was laid before them when they were kids.

Many people say that old people fear change as they have grown so accustomed to their old ways, however, in Clint Eastwood’s meaningful and captivating drama Gran Torino, it is exemplified that anyone is capable of change. Gran Torino shares a story about tolerance and cultural differences, but also one about hope, self-sacrifice, and unlikely relationships. In the film, an abundance of cultural diversity is met with much resistance, stereotype, and prejudice by the movies’ main character, Walt Kowalski. Walt’s world is changing; his wife has died, his Detroit neighbourhood is deteriorating, his relationship with his two sons is distant, and his Korean War memories continue to affect his ability to fully enjoy life. Through an unlikely bond with the Hmong family next door, Walt finally receives redemption by coming face-to-face with the same destructive prejudices consuming neighbourhood teenage gang members that have consumed him. Through the devices of characterisation, symbolism, and dialogue the viewers will witness Walt emerge as a more compassionate individual who becomes more accepting of other cultures and ethnic backgrounds around him.

It was released in the year 1993, covering the period of the Chinese social upheavals between the 1920s through to the 1970s in the setting of the Beijing Opera. The film raises the attitude of homosexuality in the most painful period of the traditional Chinese history, for the Chinese and Western viewers (Lau 1995, 22). Despite that, China holds a strong homosexual stigma within the twentieth century. According to Lau, this film was an opportunity to stimulate the inherent of the Beijing Opera in relation to the homosexual practices that were tolerated during the era (Lau 1995, 22). Zheng further suggested that the film was also a chance to understand the homophobic anxiety of the historical and political brutality in Chinese history (Zhang 1999, 101). The film attempts to illustrate that the Chinese cultural connections and homosexuality cannot coexist. The main protagonist, Cheng Dieyi, sense of identity is heavily reinforced by the power structure within the environment through harsh symbolic rapes. Lau suggested that the symbolic rapes, such as the loss of finger and getting a pipe forced into the mouth are indications of homosexuality (Lau 1995, 23). According to Zheng, the scene when Dieyi gets raped by the eunuch has exhibited Dieyi’s disruption towards the societal rejection of homosexuality (Zhang 1999, 104). Zheng also stated that Dieyi’s violent