Post 14 | “Asian Culture” and Asian American Identities in the Television and Film Industries of the United States

Asian "Culture" and Asian American Identities in the United States' Cinematic history

By Theresa King

Shah's article "Asian Culture" and Asian American Identities in the Television and Film Industries of the United States (2003) puts forth four particular Asian stereotypes which are highly recognisable within American films and television productions. These Shah categorised as the 'Yellow Peril,' the 'Dragon Lady,' the 'Charlie Chan,' and the 'Lotus Blossom.' This article discusses two sides of these film and television images. Firstly, Shah looks at how Asians are depicted by white Americans, and how these views have resulted into the stereotypical depictions which are evident in films and television shows that are made in Hollywood. Secondly, Shah looks at the side of how Asians view themselves and their own personal experiences living in the United States and the increase in what has been referred to as 'triangular cinema' has taken place. 'Triangular cinema' is the term given to Asian American filmmakers who have challenged the preconceived Asian stereotypes and created more 'liberating images' for positive independence and autonomy for the Asian American communities (Shah, 2003, p.1). Furthermore, Shah discusses due to the competing images of Asians and Asian Americans a struggle over identity formation has become manifest (Shah, 2003, p.1). This post will analyse and discuss these four stereotypical depictions of Asians created in American television and film industries.

'Yellow Peril' and 'Dragon Lady'

It was between 1900 and 1930 that white Americans began to focus their attention on the Asian population to the east. The white farmers in America became vehemently opposed and resentful towards Asians as they were leasing unwanted land and were competing against them in local produce markets (Shah, 2003, p.3). Shah (2003, p.3) further discusses how labor unions furthermore fought for white workers, claiming Asians were threatening their jobs and competing with unskilled white Americans for low-paying jobs. These stereotypes became quite prominent around most of Europe also in the early 1900s. In effect, Hollywood began to put these opinions of the Asian population into their cinematic productions. One of the first began with Asian men being depicted as "menacing, predatory, and lusting after white women" (Shah, 2003, p.3). These images, Shah (2003, p.3) explains, are evident within the films such as Broken Blossoms and The Cheat. The 'Dragon Lady' stereotype of Asian women has also become a prominent figure in American cinematic culture. Here, Shah (2003, p.3) argues Asian women have become "depicted as diabolical, sneaky, and mean, but with the added characteristics of being sexually alluring and sophisticated and determined to seduce and corrupt white men." These stereotype roles are present within movies/ television shows such as The Thief of Baghdad and Ally McBeal starring Lucy Liu.

'Charlie Chan' and 'Lotus Blossom'

The Charlie Chan stereotype was created by Hollywood in 1936 as a contrast to the cruel Japanese male soldier as presented in the film Dragon Seed. This 'Charlie Chan' figure that Hollywood created was a 'mysterious man,' 'non-threatening,' and revealed his 'Asian wisdom' when needed (Shah, 2003, p.4). These stereotypical figures are represented in the television series such as Martial Law by the characters of Sam-o Hung and Kelly Hu.  As the end of World War II, Japan became a satellite nation of the United States and therefore a total reversal in the images of Japanese and Chinese people came about (Shah, 2003, p.4).The 'Lotus Blossom’ stereotype consequently followed from these events which is portrayed in films such as Sayonara, where Asian women are depicted as being "submissive, meek, and ready to serve a man's every need" (Shah, 2003, p.4).

As is discussed through Shah's article, it is evident that these four stereotypes of Asians - Yellow Peril, Dragon Lady, Charlie Chan and Lotus Blossom - were prominent throughout American film history and are still prominent in several films and television series today. These stereotypes are however being challenged by Asian people, by creating their own identity and representation through their own cinematic productions.

References:

Shah H. (2003). “Asian Culture” and Asian American Identities in the Television and Film Industries of the United States. Studies in Media & Information Literacy Education 3(3): 1-10.