Article Reviews For Those Interested

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, vol. 3, no. 3, pp. 1-10.

The extent of the media’s influence upon interpretations of racial and ethnic identity becomes particularly evident when assessing eastern depictions within early Hollywood films. The article by Shah aims to conceptualise four main stereotypical models of Asian American identities as established by white Hollywood and identify social responses within Asian American communities as a means to combat this misrepresentation of identity. The author succeeds in identifying four key groupings of stereotypical representations of Asian identity within American film sources and suggests of a modern day continuance of such film representations. The findings show a degree of significance in understanding the transition of Asian-American identity yet fail to affirm the continuing existence of such perceptions within modern film.

Shah identifies four distinct stereotypes favoured amongst white Hollywood producers, “Yellow Peril”, “Dragon Lady”, “Charlie Chan” and “Lotus Blossom”. The author uses these stereotypes to document transitions in Asian American identity as depicted within film from early 1900’s to post World War 2. The transition in identity falls in line with political and social motivations towards nationalistic white American identity. The “Yellow Peril” stereotype is analogous to the Mongol hordes and symbolises the rise in Asian migration and the feelings of invasion felt by white Americans. The term “Dragon Lady” is an attack upon Asian women, with their depictions within early films as often alluring and dangerous. This imagery is further evolved through pre and post war America. The terms “Charlie Chan” and “Lotus Blossom” represent a defining point in social transition from threat to acceptance.

The article provides many examples of Asian financed and produced films released in an effort to counteract film stereotyping. Despite these examples, the article neglects to mention any effects the release of such films has had upon public perception and film stereotyping towards Asian Americans. Furthermore, the article makes mention of a modern continuity of these false perceptions being found within certain television series, a claim which is poorly substantiated as social influence is no longer a defining factor. In light of these issues, it is evident that modern perceptions towards Asian-related stereotypings are being embraced by Americans alike whether through alterations of societal perceptions or the natural progression of public belief. Asian films, notably set and filmed in Asian locations with foreign language dialogue are becoming increasingly popular within western audiences (Wu & Chan, 2007). Through this popularity, it would appear that Asian misrepresentation has in fact transitioned both in line with social perception and in line with legitimate cultural exposure.

The author accurately identifies transitions in film depictions of Asian American identities through social and political influences. The article explores the existence of Asian centric cinema yet does not assess its influence towards the restructuring of white Americas understanding of Asian culture. Despite this oversight, western appeal for traditional Asian cinema is steadily increasing; with Asian stereotyping replaced with traditional Asian on-screen culture aiding in this attraction.

Wu, H & Chan, JM 2007, ‘Globalizing Chinese martial arts cinema: the global-local alliance and the production of Crouching Tiger, Hidden Dragon’, Media Culture Society, vol. 29, no. 195, pp. 195-217.

Western acceptance of foreign culture has often remained closely associated with social representations throughout film and media. Foreign media, film, language and culture, particularly of Asian orientation are experiencing a proliferation throughout western countries. Wu and Chan aim to explore this rise in appeal in an attempt to understand the cultural flow from the stereotypical ‘other’ to social acceptance and mass social appeal. The authors achieve this through the analysis of the film Crouching Tiger Hidden Dragon and the success which it achieved throughout western audiences. The authors identify a trend moving towards mutual cultural acceptance in which eastern cinema becomes the conduit for cultural exchange and understanding. 

With agency being a defining factor through the rise in popularity of Asian cinema, the text further builds upon this construct by assessing the social network developed through the interaction between the global and local entities. The authors use this as the basis for the notion of cross-cultural flow, the expansion of cultural identities and practices reciprocally between eastern and western nations (Tomlinson, 2000). It is then argued that through this interaction on a global and local scale, coupled with the presence of cultural flow (equally between east and west) Asian film has experienced the marked rise in popularity evident today. To support this claim, Wu and Chan rely heavily upon textual analysis, assessing documents and interviews surrounding the popularity of Crouching Tiger Hidden Dragon to demonstrate this cultural flow and global appeal. Through this, the authors assess global-local dialects to further reinforce their thesis.  

Wu and Chan succeed in proving their thesis of reverse cultural flow through analysing the rise of Asian cinema within western societies. The article is of considerable significance as it highlights how transitions within social perceptions can be influenced through media exposure for cross cultural benefit. Although providing a solid foundation for understanding social conduits, interestingly the article does not assess Asian cinema prior to 1970 in which cultural flow between eastern and western nations would have had significant impacts upon social perspectives (Shah, 2003). This would be a vital contrast and help to document the societal influence to further legitimise the author’s claims.

The text successfully establishes a basis for cross cultural flow through the utilisation of Asian martial-arts cinema as a means for conveying cultural identity through globalisation. It would be recommended to contrast modern identity globalisation through Asian cinema with respective pre and post World War 2 perceptions to ascertain further influences in cultural understanding and appeal.

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, vol. 3, no. 3, pp. 1-10.

Tomlinson, J 2000, Globalisation and Culture, Chicago University Press, Chicago.

Wu, H & Chan, JM 2007, ‘Globalizing Chinese martial arts cinema: the global-local alliance and the production of Crouching Tiger, Hidden Dragon’, Media Culture Society, vol. 29, no. 195, pp. 195-217.