Ultimately, the film could have chosen to cast the Kim family as one of a different race and the script would only require minor rewrites, leaving the narrative intact. They feature Asian-American characters whose ethnicities, while not being centered, are not erased either. The film made almost as much at the Korean box office as it did at the American one, in a country with a population less than a sixth of the size of that of the United States. Headlines on Korean news sites emphasized excitement among the Korean public to see an ensemble of Korean- Americans on film.
The only defining background to the character is his English nationality. On one hand, Sean Townsend is essentially a white character in all aspects other than the actor playing him. It posed a question for the writer and the audience, when we think about a Brit, do we assume it is a white Brit by default?
Feig has been vocal about his choice to cast Golding. When we look deeper into the movies associated with fantasy, it is no wonder why. Fantasy genre: Asian representation Movies that only have Asians as the minorities in the fantasy genre can be classified in three ways: they are adaptations of Asian mythologies, wuxia movies Chinese martial arts , and are set in Asia. Movies based on Asian mythologies are often produced by Asian film studios, which tend to retell classical tales in modern ways using new cinematic technologies.
Hollywood produced movies tell a different type of story. In movies about wuxia, the plot usually revolves around a stoic warrior with a hidden agenda. For movies set in Asia, Asia is portrayed as an exotic or mystical land where the oftentimes white protagonist stumbles into in order to uncover some ancient treasures The Mummy , or have to face off the Asian villain Pirates of the Caribbean.
Fantasy genre: mixed representation Movies with mixed representation featuring both asian and black actors are often featured as part of an ensemble cast. While Asian-Americans generally play less stereotypical characters, characters played by east Asian actors still feel somewhat tokenistic. Case in point: Kris Wu, a Chinese-Canadian, plays a monotonous Sergeant Neza in Valerian and the City of a Thousand Planets, where a review has said he sounded like he was reading cue cards at a gunpoint.
Both actors represent a different form of tokenism—including famous east Asians to appease Asian investors and cashing in on the lucrative China box office. Directors as Auteurs So far we have looked into what is seen on screen—but most of the executive choices that make a movie happen offscreen. Just as minorities are underrepresented in starring roles, there remains an inertia towards providing opportunities for Asian, black, and other miniority directors.
This is significant because directors are in the position to amplify representation by having a major say in the cast, and providing the overall vision to the movie. In addition to the string of movies this summer, there are several upcoming television projects spearheaded by Asian creators. The show is co-created by and starring Kal Penn, who leads a cast that consists almost entirely of actors who are immigrants.
In addition to playing Chad and creating the series, Pedrad will serve as one of its showrunners and executive producers. The show, whose main character Anne is voiced by Brenda Song, has already been renewed for a second season. Lastly, it fills me with pride to say that Anne, the lead character of our show, is Thai!!
The teen romantic comedy and the thriller both feature Korean American protagonists in multifaceted stories. Representation of Asians within American performing arts has always been alarmingly small. Ultimately, the film could have chosen to cast the Kim family as one of a different race and the script would only require minor rewrites, leaving the narrative intact. If we are never granted the right to a personality, if we are only perceived as heartless automatons just one point away from a perfect SAT score — then we are certainly never going to be granted the opportunity to live full lives on the screen. They also spoke to a part of me, the Chinese half of me, that never felt it could behave as carelessly as the other half of me did.
Please Ignore Speak your mind. He led. Representation of Asians within American performing arts has always been alarmingly small. Slanted eyes. He echoes the conventional wisdom of Hollywood: we are not racist, we are just driven by profits. This is no coincidence; Jordan Peele, a director and owner of Monkeypaw Productions, has directed social thrillers such as Get Out, Blackkklansman, Us, and Candyman—all of which feature an all-black cast and highlighting the experience of being black in the United States.
They feature Asian-American characters whose ethnicities, while not being centered, are not erased either. The former, a calculating villain who appeared in a series of films beginning in the s the name, invented by its British creator, is a crude jingoist rhyme, neither Mandarin nor Cantonese , is a mask of a Chinese man, always portrayed with crudely slanted eyes, eyebrows like caterpillars and a thin dangling beard. This is significant because directors are in the position to amplify representation by having a major say in the cast, and providing the overall vision to the movie.
Recent studies have found that Asian-Americans are the least likely of all races to be promoted into managerial positions. Yang and Kumail Nanjiani in stereotypical but still more rewardingly complex supporting roles Yang plays a ruthless if talentless app developer; Nanjiani, as a software engineer, steals the scene in nearly every episode. Filial sons and daughters who have abandoned emotional fulfillment in order to satisfy our parents. Slanted eyes.
As with so many other minorities in America, you are comfortable enjoying the work we make. Harvard has denied the charges. Representation of Asians within American performing arts has always been alarmingly small.
The women were conniving dragon ladies or docile concubines. Fantasy genre: mixed representation Movies with mixed representation featuring both asian and black actors are often featured as part of an ensemble cast. Having been raised on a mediocre diet of American television and mainstream Hollywood movies, I can count on one hand the actors of Asian descent who made an impression on me growing up. At any rate, in the digital age of streaming media, those distinctions are increasingly irrelevant.
Each of these films incorporates the cultural identity of its Asian characters to a different degree, and in doing so, creates a diverse blueprint from which future representation may grow. Social-media campaigns, from OscarsSoWhite to StarringJohnCho, which reimagined blockbusters as if they featured the Korean—American actor, called attention to inequality and erasure.