Film Goes Asian

The global cultural flow has been widely recognised to be unevenly in favour with the west, over the east (Wu & Chan, 2007). The west utilises symbolic systems of representation, such as film in mass media, to circulate various images of those deemed ‘different’ through society. In other words, the west uses film to create stereotypes of other eastern cultures as “the other.” Thus, negative or controlling stereotypes of Asian cultures have emerged from the imagination of primarily white producers in Hollywood (Shah, 2003).

These controlling images provide justifications for social control within society (Shah, 2003). Like the stereotypes utilised for native Americans (or Indians) within films, Asians have historically been portrayed as savage, stupid, docile and nomadic to justify various policies of exploitation by the white, or western, population (Shah, 2003). It is a wonder the stereotypes that were created in aid of western power and domination have stuck around for so many years. Wouldn’t a country, such as Australia, who claims to promote multiculturalism, leave this negative stereotyping in the past, where it belongs?

Throughout history, Asians have been depicted in many forms. Beginning with the United State’s fear of an increasing Asian population in the 19^th and 20^th centuries, movies and film about “the other” was determinably racist and offensive (Shah, 2003). Asians, from the very beginning, were marked as different from the western social norm. Men were depicted as menacing, predatory and lusting after white women (Shah, 2003). Women were seen as diabolical, sneaking, mean and determined to seduce/corrupt white men (Shah, 2003). In other words, Asians signified an infection of civility by an inferior culture (Shah, 2003). These representations of the two genders foreground a western society whom was scared of an Asian invasion.

Another stereotype of Asians developed out of the World Wars. At the end of WWI, the Japanese were perceived as cruel soldiers who randomly killed the poor, raped women and burnt houses (Shah, 2003). The Chinese, however, were mysterious, virtuous, industrious and trustworthy (Shah, 2003). Thus, the Chinese was contrasted with the Japanese, seen as a non-threat to western civilisation through their ‘Asian wisdom’ (Shah, 2003). However, when WWII ended, these stereotypes and images reversed. It is alarming how stereotypes can be changed so quickly, forcing western people to think and feel these negative thoughts about a particular culture at any particular time.

In cotemporary media, the Asian stereotype is still filled with segregation and degradation. Men are still seen to be filled with eastern wisdom and act romantically with white women. Additionally, women are still attractive object, determined to get their own way, such as Lucy Lui’s various characters. Many films stereotype Asians as a threat that needs to be controlled. Other images include martial artists, prostitutes, gangsters and fighters. Although society can recognise that these stereotypes are not always accurate, films still continually portray these people in this way. Why? Why must western film be racist, especially in a multicultural world? Why are there these issues of identity?

On a positive note, in the past few years, the Asian cinema has emerged, introducing new sensations and fresh ways of telling stories to Hollywood and carving out the global market, aiming to balance out the global cultural flow. There has been a wake of an increasing flow of cultural influence from the east to the west, with Kung fu/martial arts movies, Japanese anime and other food and cultural practices (Wu & Chan, 2007). Due to a growing Asian population in western countries, these people are looking for films that address their lives and their concerns (Wu & Chan, 2007). Thus, this is opportune time for an Asian cinema in the west. Take Crouching Tiger, Hidden Dragon for example. The success of this movie did not happen in a day. It became popular due to the contemporary globalisation of Asian film and talents (Wu & Chan, 2007). Thus, the binaries of ‘us’ and ‘them’ are becoming increasingly blurred. This is evident in film and TV that depicts a cross cultural collaboration, such as the hit TV series, Glee and Modern Family. In this case, media is being used as an agent for cultural change. This blurring and cross cultural collaboration will lead to a building of western and eastern relationships, and hopefully an end to negative stereotyping. This is positive stereotyping. No culture should have to endure negative mass media for simply being themselves and living according to their social rules and norms.

Although in my last few blogs I have argued against negative stereotyping and detailed how it affects the cultures that are misinterpreted, it forced me to consider... where would our film industry be if it wasn’t for these terrible and wrong stereotypes? For instance, the ‘Indian and cowboys’ films, along with the ‘martial arts’ films played such a vital role in film history due to what was happening, or had happened, at that moment in history. If we take all the movies that have stereotyped a particular culture is some way out of the world, what would we be left with? Do any movies really avoid stereotyping? Is it even worth complaining or voicing an opinion about? Will it make any real difference in the way media and film chooses to portray “the other”?

References:

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

Wu H. & Chan J. 2007. “Globalizing Chinese martial arts cinema: the global-local alliance and the production of Crouching Tiger, Hidden Dragon. Media Culture Society 29(195). DOI: 10.1177/0163443707074252

Image Source:

My own drawing.