The extraordinary Far East, the mystery of the Orient; for ages it has spoken to the imagination of Western society. While never remotely separated, the East and West managed to distance themselves in both geographical and cultural terms. As a result of this, Western society adopted a filtered and imperfect vision of this strange culture and its people. For the last two hundred years, however, an initially gradual yet since the First World War intensifying fusion of East Asia and the West has come into existence. Naturally, this absorption of East Asia in Western Society has strongly altered the discourse on East Asian culture and its people and continues to do so. This essay will examine the role media has in this still ongoing process. By analysing the most influential casts, the East Asian as portrayed by the Yellow Peril and the East Asian American model minority, and elaborating on their origin and impact, this essay will attempt to expound the influence of media on the discourse on East Asian culture and …show more content…
Both thrive on the vision of East Asia illegitimately gaining power within the West. As is the case in America, the news and magazines continue to stereotype East Asians and East Asian Americans, destined to succeed, as they receive their strength from their background in ancient civilizations (Chen, 150-51). Furthermore, the media creates a clear Us vs. Them dichotomy, by portraying East Asian Americans as deviating outsiders, instead of Americans of one of America’s extensive heritages (Hartlep, xv-xvi). Alternatively, a new manner of approaching East Asia is uprising, promoted by East Asian export of their media to the West. Sampling of East Asian culture results in Westerners appropriating and fetishizing selected aspects, while still disregarding most (Iwabuchi 549-51). Consequently, it does little to change the general
Chapter six examines the anti-Chinese sentiment with the emerging class antagonism and turmoil between white capitalists and workers. The unwelcomed arrival of Chinese immigrants brought along their own social organizations such as the huiguan, fongs, and tongs. These types of social organizations secured areas of employment and housing for Chinese immigrants in California. This social structure that was unknown to Anglos led them to also categorize Chinese on the same level as Indians by depicting them as lustful heathens whom were out to taint innocent white women. These images were also perpetuated onto Chinese women, thus, also sexualizing them as all prostitutes.
• African Americans – The cultural transition from the 1970-1960 promoting African Americans literature, was also a musical and vocal movement for a culture coming of age after the liberation of slavery. The fierce anxiety of post-Civil War racism created a “voice” through artistic creativity, making a deliberate statement of the status of America through African American eyes. The timelines show artist telling a story of character and circumstance. • Asian Americans – The timelines showed advancement in music, literature and theatrical fields. They also showed more popularity of this sub-culture during the last fifty years.
As the situation currently stands, there is no problem with the presentation of Asian American as a unified experience. This unification of all Asian Americans in America’s eyes – especially those of white Americans – can be seen through two lenses: the treatment of past immigrants and the beliefs about current Asian Americans. In his article The Centrality of Racism in Asian American History, Ronald Takaki states, regardless of Asian Americans’ contribution to the development of the American West, when “one hears Americans tell of the immigrants who built this nation…one is often led to believe that all our forebearers came from Europe.” America does not want the Asian American portion of its population to be recognized because the fact that the ‘Orient’ assisted with the building of the United States is contrary to all standing American and emphasizes the indebtedness of America to the Asians to crossed the ocean to supplement their economy. Primarily, Americans viewed Asian immigrants as “clannish, rigidly attached to their old country and old culture” or in other words as a group which cannot possibly be assimilated
According to Karen Dabney’s Oral Performance/Aural Traditions: Cultural Identity in David Henry Hwang’s Trying to find Chinatown, “a common problem Asian Americans encounter is generic racial identification by outsiders, rather than precise recognition of their ancestral and ethnic roots.” Benjamin feels that Ronnie surrendered himself to his adopted country and has failed to preserve and protect his heritage and
According to the U.S. Census, 5.6% of the United States’ population is Asian. There are millions of Asian Americans who reside here, they exist. So why does Hollywood and other forms of media pretend like they do not? Unfortunately, when Hollywood does acknowledge their existence, Asian Americans are limited to typecasted roles such as a nerd, a taxi driver, or a kung fu master. Not only are these roles offensive, they also inaccurately represent an entire ethnic group.
The novel’s fictional version of China is sometimes an unfairly bleak portrayal of the country, and its most shocking scenes cohere with false Orientalist narratives of Western imperialism and Asian inferiority. However, for an American author, Buck writes with unique authority; few Westerners in her era could match her breadth of knowledge about China, and even fewer could match her dedication to the advancement of cultural empathy with China. Despite the inescapable influences of dominant Orientalist narratives, Buck was able to craft a socially truthful, yet relatable text for Western audiences. Looking back at the outsize impact of The Good Earth, it becomes clear that it defies conventional definitions of Orientalism. Rather than assigning the ‘Orientalist’ label as a veiled accusation of racism and ignorance, scholars should instead recognize that—with the appropriate author intentionality and real-world impact—certain Orientalist works could be culturally acceptable, if not valuable
I decided to switch my artifact for the research paper from John Erick Dowdle’s No Escape (2015) to Francis Ford Coppola’s Apocalypse Now (1979) because I think this film is more suitable for what I want to research, which is how and why the media actively shapes Americans’ perception of historical events. I am also especially interested in the role Orientalism plays in this process. Unlike No Escape, Apocalypse Now has a lot more historical significance because it came out a few years after the Vietnam War (1955-1975) and is considered one of the most famous films about the Vietnam War. In addition to that, there is more room for debate about the significance of the film and its portrayal of Southeastern Asians.
Asian Americans include persons that come to the United States from a variety of countries in Asia and the Indian subcontinent (McNamara & Burns, 2009). Although the do share similar physical features, each subgroup has its own history, customs, and culture (McNamara & Burns, 2009). There are many different perceptions of Asian Americans in general. One is that they have overcome barriers and discrimination to be successful and achieve the ‘American Dream’ (McNamara & Burns, 2009). One reason for this I believe is that the majority of Asian Americans come to the United States with a dream and a goal to be successful.
Tolerance turned to distrust and irrational fear. The hundred year old tradition of anti-Asian sentiment on the West Coast resurfaced, more vicious than eve. (Houston, p. 15). Three years of wartime propaganda funded racist headlines, atrocity movies, hate slogans, and fright-mask posters turned Japanese faces into something despicable and grotesque. The American Legion and The Native Sons of the Golden West were racist organizations agitating against the West Coast Japanese for decades (Houston, p. 115).
She talked about all the good things about Asians but portrayed America as a bad place, trying to motivate more Asians to become active in fighting for their rights. It’s been 20 years since Kochiyama made her famous speech and new problems face the Asian-American community that would have required a new version of Kochiyama’s
Gene Luen Yang offers a humanistic perspective on western imperialism in China during the late nineteenth century to early twentieth century in his graphic novel Boxers, a tragic narrative about Chinese grassroots resistance against foreign occupation in which an armed revolution ultimately fails. The novel focuses on religious identity, and cultural connections in the face of invasion. Boxers highlights the negative effects of imperialism through clashes between different religions, ideologies and power structures. Therefore, the criticism of western imperialism presented in Boxers could support a world systems theory approach to international relations because it shows to exploitation through westernization and the squandering of cultural
the Orient is not only adjacent to Europe; it is also the place of Europe 's greatest and richest and oldest colonies, the source of its civilization and languages, its cultural contestant, and one of its deepest and most recurring images of “the Other.” In addition, the Orient has helped to define Europe (or the West). (1) Othering is an inherent classification and differentiation of peoples or cultures. This specific definition of Othering involving Europe and the Orient can be applied to other colonial constructions in which one society defines and reifies its centrality in juxtaposition and in comparison to another, neighboring community: the relationship between North Dormer and the Mountain.
The challenges Buddhism faced as it arrived in China were mainly linguistic challenges, different philosophical context, diverse conceptions of the ideal perfect being, and the core differences in social values. In order to overcome these challenges, there were translations made, and efforts put into searching for links between Buddhist and Chinese beliefs at that time. Moreover, there were cultural differences between the North and the South, which lead to a different process of Buddhism’s arrival within China. The first challenge Buddhism faced was the language barrier. Buddhism was based on Sanskrit, so it was necessary to translate the teachings and dialogues from Sanskrit to Chinese.
Personal Statement I would like to confirm that it is my motivating of Chinese culture that ignited my passion for cultural and creative industry. As a Tourism Management major student, I was able to explore the Chinese diversified cultures and landscapes, which offered me an insightful understanding of the Chinese cultural development. Under the guidance of commercialization, some cultural heritages have developed into huge tourism souvenir markets full of counterfeit and shoddy products. The over-commercialization reveals the fact that the Chinese culture is facing a severe situation. The country calls for a better cultural development strategy, which cultural and creative industry can offer.
The traditional Chinese cultures have a development process for thousand years, now we are creating another kind of traditional culture especially under the wave of globalization. Although the form of expressing or performing the culture experienced some changes but the basic idea and belief behind rarely changed. To promote Chinese culture we would refer to the essence of Chinese wisdom so the following is actual practicing of different dimensions of Chinese traditions which show the beauty of China. The family concept is the essence of Chinese culture.