Awkwafina × Margaret Cho 조모란 「GREEN TEA」

Posted on May 31, 2016 commentaires

Awkwafina × Margaret Cho 「GREEN TEA」 - from『Yellow Ranger』posted on May 31, 2016.

「GREEN TEA」 a collaboration between Awkwafina and Margaret Cho in celebration of WOMANHOOD and APAHM Month.


Written by: Awkwafina and Margaret Cho
Directed by: @Tonykfilms (
Music by: @drigsybaby ( IG: drigsybaby)
Engineer + Mixing: Andrew Krivonos at The Brewery Studio
Video AD by: @TeddyKnock (

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LUNA 루나 「Free Somebody」


LUNA 「Free Somebody」 - released on May 31, 2016.

Au sein des f(x), la trop énergique et criarde LUNA n'est pas vraiment notre favorite, mais on avoue que son titre pop électro en solo est un succès ! On aime également le clip au dessin animé « moche », c'est très cool. Dans celui-ci, LUNA a oublié de mettre un pantalon et travaille chez DHL. Elle croise dans l'ascenseur un beau garçon qui gobe un bonbon magique, et là, gros trip, ça part dans tous les sens youpie. À la fin, retour à la réalité, le gars se barre en filant un bonbon (ou l'emballage du sien ?) à LUNA...

f(x) 에프엑스
Official Website (South Korea):
Official Website (Japan):

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Morgan Baila 「Korean-American Rapper Brilliantly Tackles Hollywood’s Whitewashing Problem」

Posted on May 27, 2016 commentaires

It’s time for Hollywood to pay attention to Asian-American actors. And this new rap video might help do the trick. Not only does it tackle the ongoing problem of whitewashing in Hollywood, it highlights just how easy it would be to cast more Asian-American actors in leading roles.

Dumbfoundead is responsible for the socially charged and entertaining music video for his song 「SAFE」. The 30-year-old rapper, born Park Sung Man, immigrated to America as a child and grew up in Koreatown in Los Angeles.

In the video, Dumbfoundead edits his face onto popular male leads, including Johnny Depp as Jack Sparrow, Leonardo DiCaprio as Jack Dawson, and Jack Nicholson as Jack Torrance. Incidentally all named Jack, these are arguably three of the most recognizable male characters in contemporary cinema, played by three of Hollywoods most famous white actors.

Like many of his Asian-American contemporaries, Dumbfoundead feels that there is a gross prejudice against Asian-American actors, and that they should no longer play it safe when pursuing roles.

The timely release of the video comes right on the tails of a feature in『The New York Times』titled, 「Asian-American Actors Are Fighting for Visibility. They Will Not Be Ignored」. The article addresses the same subject, reporting just how depressingly sparse opportunities are for people of color in Hollywood.

As the『Times』reports, “Only 1.4 percent of lead characters in a sample of studio films released in 2014 were Asian.” The issue was also much discussed after Chris Rock used Asian children as a punchline during the Oscars. Dumbfoundead opens his rap with a similar scene, saying the only yellow guys at the Oscars were the statues.

In the description of his music video on YouTube, the rapper writes, “After the last Academy Awards and the regular whitewashing of hollywood roles, I wrote this song and made this video to add my piece to the conversation.” Check it out, below.

Dumbfoundead 「SAFE」 - released on May 19, 2016.

After the last Academy Awards and the regular whitewashing of hollywood roles, i wrote this song and made this video to add my piece to the conversation. If you have any experiences or stories about this issue join the discussion at

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Richard Fung 「Re-orienting queer Asian identities, 30 years later」


Richard Fung discusses his follow-up to his seminal 1984 documentary, 「Orientations: Lesbian and Gay Asians」

EDITOR’S NOTE: Toronto video artist, writer, and associate professor Richard Fung made his first video in 1984 called 「Orientations: Lesbian and Gay Asians」, featuring 14 people of South, Southeast and East Asian backgrounds. It was the first documentary on queer Asians and racialized queers in Canada. This weekend, he is premiering a follow-up, 「Re:Orientations」, which reconnects with seven of the original participants three decades later. He wrote this essay for CBC Arts reflecting on the two films and the history in between them.

As we age we look at snapshots taken in our youth, pictures of our family, friends and ourselves. We take stock of our lives and speculate about whatever happened to this or that person, where are they now? We might marvel over the recycling of hairstyles, the inflated price of a pizza, or unforeseen shifts in laws and attitudes. This is the impulse behind my film 「Re:Orientations」, which revisits the participants in my 1984 documentary 「Orientations: Lesbian and Gay Asians」. This was the first generation of Asian Torontonians to declare their sexuality publicly, and I wanted to find out where they are at, and to see how they’re responded to the changes that have occurred over the intervening three decades.

For 「Orientations」, I interviewed 15 men and women of South, East and Southeast Asian backgrounds, most of them in their twenties and thirties. I was a co-founder of Gay Asians Toronto in 1980 and I volunteered at『The Body Politic magazine』, so I knew the community well. But it was hard to find willing participants. At that time you could usually count the number of people of colour in any lesbian or gay venue on one hand. And few people were willing to be filmed, because they had no legal recourse if coming out publicly brought on negative consequences. In 1984, sexual orientation was not included in any human rights code in Canada outside Quebec. I sent out word through various networks and I met a few participants after filming had already started, a couple even during the post-production phase.

When 「Orientations」 was made, AIDS had only been named two years earlier, and it wasn’t until two years later that the term HIV came into use. 「Orientations」 doesn’t touch on AIDS as I knew of no Asian-Canadians with AIDS. Three of the men in 「Orientations」 subsequently died from AIDS-related causes.

Instead of the endlessly growing acronym we use today, the term of the day was “lesbian and gay.” Gender transition was uncommon. In fact, lesbian and gay activists distanced themselves from “transsexuals,” because the dominant ideology conflated homosexuality and transexuality. Same-sex marriage was nowhere on the political agenda; gay liberation was aligned with sexual liberation and monogamy was deemed passé. The word “queer” was still only an insult.

I remain friends with a few of the original participants but I found it impossible to track down all of the surviving twelve. Some had moved, a couple no longer identified as gay or lesbian, and others declined. Of the seven who do appear in 「Re:Orientations」, almost half had to be convinced at some point not to drop out. This was not about a belated sense of closetry. In one’s twenties one is bolder and prone to take chances. In one’s fifties and sixties, one might more sensitive about one’s life being scrutinized, about being judged. I understand this myself.

The seven people interviewed took very different paths in life. Shortly after the film was made, Tony Souza retired from full time work as the Race Relations Adviser at the Toronto Board of Education, though he continues to be active in social justice organizing. Sylvia Alfonso became a senior manager at a large Canadian bank. Gary Joong continued to work at Canada Post until his retirement. Prabha Khosla moved to Mozambique for a while and now works internationally as an urban planner with a focus on women. Three of the participants are now married, two express opposition to marriage. No one is with the partner they had in the original film.

In 1984, I didn’t foresee a career in filmmaking. For me, 「Orientations」 was principally a political project. As the predominant images of homosexuals were white, my agenda was to speak back to homophobia as well as to the orientalism that exoticized and excluded us within gay and lesbian communities. I wanted to encourage lesbian and gay Asians to feel less alone and to become involved with community. Three decades ago, community referred to the organizations and handful of commercial venues where one went to be gay or lesbian. The success of our political organizing has meant that people are now freer to live their sexualities and gender identities wherever they are. But this has meant that queers no longer need queer spaces as in the past; even sexual hook ups have moved into digital space.

Today the differences among LGBT+ people are more pronounced and “community” has fragmented. Having only seven of the original participants allowed me to include conversations with six younger activists, scholars and artists who respond to the past and touch on current perspectives and urgencies. There are differences between the generations, but certain concerns – racism, for example – remain surprisingly, distressingly consistent.

「Re:Orientations」 is not the last word on a thirty-year history. In the film I am determined to represent contradictions and to open up questions that face our communities in the future.

「Re:Orientations」. Directed by Richard Fung. 66min. May 28. 12:30pm. TIFF Bell Lightbox, Toronto.

Richard Fung 「Re:Orientations」 - posted on August 03, 2016.

Richard Fung
Official Website:

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Amanda Hess 「Asian-American Actors Are Fighting for Visibility. They Will Not Be Ignored.」

Posted on May 25, 2016 commentaires
Daniel Dae Kim, Constance Wu & BD Wong. Credit Todd Heisler/The New York Times

When Constance Wu landed the part of Jessica Huang, the Chinese-American matriarch on the ABC sitcom 「Fresh Off The Boat」, she didn’t realize just how significant the role would turn out to be. As she developed her part, Ms. Wu heard the same dismal fact repeated over and over again: It had been 20 years since a show featuring a predominantly Asian-American cast had aired on television. ABC’s previous offering, the 1994 Margaret Cho vehicle 「All-American Girl」, was canceled after one season.

“I wasn’t really conscious of it until I booked the role,” Ms. Wu said. “I was focused on the task at hand, which was paying my rent.”

The show, which was just renewed for a third season, has granted Ms. Wu a steady job and a new perspective. “It changed me,” Ms. Wu said. After doing a lot of research, she shifted her focus “from self-interest to Asian-American interests.”

In the past year, Ms. Wu and a number of other Asian-American actors have emerged as fierce advocates for their own visibility – and frank critics of their industry. The issue has crystallized in a word – “whitewashing” – that calls out Hollywood for taking Asian roles and stories and filling them with white actors.

On Facebook, Ms. Wu ticked off a list of recent films guilty of the practice and said, “I could go on, and that’s a crying shame, y’all.” On Twitter, she bit back against Hollywood producers who believe their “lead must be white” and advised the creators of lily-white content to “CARE MORE.” Another tip: “An easy way to avoid tokenism? Have more than one” character of color, she tweeted in March. “Not so hard.”

It’s never been easy for an Asian-American actor to get work in Hollywood, let alone take a stand against the people who run the place. But the recent expansion of Asian-American roles on television has paradoxically ushered in a new generation of actors with just enough star power and job security to speak more freely about Hollywood’s larger failures.

And their heightened profile, along with an imaginative, on-the-ground social media army, has managed to push the issue of Asian-American representation – long relegated to the back burner – into the current heated debate about Hollywood’s monotone vision of the world.

“The harsh reality of being an actor is that it’s hard to make a living, and that puts actors of color in a very difficult position,” said Daniel Dae Kim, who stars in 「Hawaii Five-0」 on CBS and is currently appearing in 「The King and I」 on Broadway.

Mr. Kim has wielded his Twitter account to point to dire statistics and boost Asian-American creators. Last year, he posted a cheeky tribute to “the only Asian face” he could find in the entire 「Lord of the Rings」 series, a woman who “appears for a glorious three seconds.”

Other actors lending their voices include Kumail Nanjiani of 「Silicon Valley」, Ming-Na Wen of 「Agents Of S.H.I.E.L.D.」 and Aziz Ansari, who in his show, 「Master Of None」, plays an Indian-American actor trying to make his mark.

They join longtime actors and activists like BD Wong of 「Gotham」; Margaret Cho, who has taken her tart comedic commentary to Twitter; and George Takei, who has leveraged his 「Star Trek」 fame into a social media juggernaut.

“There’s an age-old stereotypical notion that Asian-American people don’t speak up,” Mr. Wong said. But “we’re really getting into people’s faces about it.”

This past year has proved to be a particularly fraught period for Asian-American representation in movies. Last May, Sony released 「Aloha」, a film set in Hawaii that was packed with white actors, including the green-eyed, blond-haired Emma Stone as a quarter-Chinese, quarter-Native Hawaiian fighter pilot named Allison Ng.

In September, it was revealed that in the planned adaptation of the Japanese manga series 「Death Note」, the hero, a boy with dark powers named Light Yagami, would be renamed simply Light and played by the white actor Nat Wolff. In 「The Martian」, released in October, the white actress Mackenzie Davis stepped into the role of the NASA employee Mindy Park, who was conceived in the novel as Korean-American.

The list goes on. In December, set photographs from the coming 「Absolutely Fabulous」 film showed the Scottish actress Janette Tough dressed as an over-the-top Asian character. Last month, Marvel Studios released a trailer for 「Doctor Strange」, in which a character that had originated in comic books as a Tibetan monk was reimagined as a Celtic mystic played by Tilda Swinton.

And in the live-action American film adaptation of the manga series 「Ghost In The Shell」, scheduled for next year, the lead character, Major Motoko Kusanagi, will be called Major and played by Scarlett Johansson in a black bob.

Studios say that their films are diverse. “Like other Marvel films, several characters in 「Doctor Strange」 are significant departures from the source material, not limited by race, gender or ethnicity,” the Marvel Studios president Kevin Feige said in a statement. Ms. Swinton will play a character that was originally male, and Chiwetel Ejiofor a character that was originally white. Paramount and DreamWorks, the studios behind 「Ghost in the Shell」, said that the film reflects “a diverse array of cultures and countries.”

But many Asian-American actors aren’t convinced. “It’s all so plainly outlandish,” Mr. Takei said. “It’s getting to the point where it’s almost laughable.”

The Academy Awards telecast in February added insult to injury. The show dwelled on the diversity complaints aired through #OscarsSoWhite, yet blithely mocked Asian-Americans with punch lines that banked on Asian stereotypes. The host, Chris Rock, brought three Asian-American children onstage to serve as a sight gag in a joke made at their expense.

“I have never seen the Asian-American community get so organized so quickly,” said Janet Yang, a producer who serves as a liaison between Hollywood and Chinese studios. She added, “It was the final straw.”

Within days, Ms. Yang and 24 other Academy members, including the actress Sandra Oh, the director Ang Lee and Mr. Takei, signed a letter to the academy taking it to task for the telecast’s offensive jokes. The academy’s terse reply only stoked the flames. Mr. Takei called it “a bland, corporate response.”

Online, even more Asian-American actors and activists have spoken out with raw, unapologetic anger.

Ms. Wen castigated 「Ghost in the Shell,” tweeting about “whitewashing” and throwing in a dismissive emoji. Mr. Takei went off on 「Doctor Strange” on his Facebook page: “Hollywood has been casting white actors in Asian roles for decades now, and we can’t keep pretending there isn’t something deeper at work here.”

Mr. Nanjiani jumped on Twitter to call out the red carpet photographer who told him, “Smile, you’re in America now.” (“I know when someone is racist, the fault is theirs and not yours,” he wrote. “But, in the moment, it makes you feel flattened, reduced and bullied.”) And Ms. Cho helped start a hashtag campaign, #whitewashedOUT.

“It’s intense,” Ms. Cho posted at the height of the action. “It’s that we have been invisible for so long we don’t even know what we can do.”

Meanwhile, television shows – competing for fresh content and audiences as the number of scripted series has increased dramatically in recent years – have helped expand the boundaries of what was once thought possible. Asian-Americans increasingly play leads and love interests and star in multiple family sitcoms.

Following 「Fresh Off The Boat」, ABC debuted the sitcom 「Dr. Ken」, featuring an Asian-American family led by the show’s creator, Ken Jeong, plus the drama 「Quantico」 starring the Bollywood actress Priyanka Chopra. On CW’s 「Crazy Ex-Girlfriend」, Rachel Bloom, as the title character, pines after the hunky Vincent Rodriguez III, who is Filipino-American. They join such mold-breakers as Mindy Kaling, creator and star of 「The Mindy Project」, and Lucy Liu, who plays a reimagined Dr. Watson in 「Elementary」.

These shows help, but the issue is pervasive, including on TV. “The mainstream Hollywood thinking still seems to be that movies and stories about straight white people are universal, and that anyone else is more niche,” Mr. Ansari wrote in an email. “It’s just not true. I’ve been watching characters with middle-age white-guy problems since I was a small Indian boy.”

In films, a few roles have transcended stereotypes: Mr. Takei in the first 「Star Trek」 installments, Ms. Liu in the 「Charlie’s Angels」 features, and John Cho and Kal Penn in the stoner hit 「Harold & Kumar Go to White Castle」 and its sequels. And more are in development: a film adaptation of Kevin Kwan’s novel『Crazy Rich Asians』is underway, and the Vietnamese-American actress Kelly Marie Tran will play a major role in the next 「Star Wars」 installment.

But mostly, Asian-Americans are invisible. Though they make up 5.4 percent of the United States population, more than half of film, television and streaming properties feature zero named or speaking Asian characters, a February report from the Annenberg School for Communication and Journalism at the University of Southern California found. Only 1.4 percent of lead characters in a sample of studio films released in 2014 were Asian.

For Asian-American actors, the dearth of opportunities compounds itself. “An Asian person who is competing against white people, for an audience of white people, has to train for that opportunity like it’s the Olympics,” Ms. Wu said. “An incredibly talented Asian actor might be considered for a leading role maybe once or twice in a lifetime. That’s a highly pressured situation.”

So some are stepping behind the camera. In addition to actors creating their own shows, like Ms. Kaling, Mr. Jeong and Mr. Ansari, Mr. Kim of 「Hawaii Five-0」 has started his own production company, 3AD, “to help tell the stories of the underrepresented,” he said. Asian-American and other minority actors, he added, are “tired of waiting to be hired for the roles Hollywood creates for us.”

Audiences, too, are catching up. “There was a time when this conversation was completely foreign to people,” Mr. Wong said. Now young participants “are already fully versed in the issues and able to discuss them with great passion.”

Ellen Oh, a writer for young adults who devised the #whitewashedOUT hashtag, credited a generational shift. “For a long time, Asians have been defined by the immigrant experience, but now second- and third-generation Asian-Americans are finding their own voices,” Ms. Oh said.

They’re also employing a new vocabulary. “The term ‘whitewashing’ is new, and it’s extremely useful,” Mr. Wong said. In contrast to “yellowface,” which protested the practice of white actors using makeup and prosthetics to play Asians, “whitewashing” gives voice to the near-absence of prominent roles.

And the Internet has allowed people to imagine a parallel universe where Asian-Americans dominate the screen. Earlier this month, disappointed fans of the 「Ghost in the Shell」 franchise took a publicity still of Ms. Johansson in the lead role and Photoshopped in the face of Rinko Kikuchi, the Japanese star of 「Pacific Rim」.

Recently the hashtag #StarringJohnCho went viral, reimagining the Korean-American star as the lead of rom-coms and action flicks. Though Mr. Cho has followed up the 「Harold and Kumar」 films with a role in the 「Star Trek」 franchise, he hasn’t been afforded the luminous leads offered to white actors with similar starts, like Seth Rogen after 「Knocked Up」 or Chris Pratt post-「Guardians of the Galaxy」.

“As I was Photoshopping John Cho’s face on top of Tom Cruise’s in the 「Mission Impossible」 poster, my friends and I started chuckling a little bit, like, ‘How crazy would that be?’” said William Yu, the 25-year-old who created the hashtag. “Then I caught myself. Why should it be crazy?”

The campaign was followed by #StarringConstanceWu, which Photoshopped the actress into posters for films starring Emily Blunt, Drew Barrymore and, ahem, Emma Stone.

The activist outpouring is “a tidal wave,” said Keith Chow, the founder of The Nerds of Color, a website of geek culture criticism that has served as home base for several online campaigns.

It has swept up some members of white Hollywood in its wake. Ms. Stone has acknowledged that her 「Aloha」 role made her the “butt of many jokes.” And this month, the director of 「Doctor Strange」, Scott Derrickson, tweeted, “Raw anger/hurt from Asian-Americans over Hollywood whitewashing, stereotyping & erasure of Asians in cinema. I am listening and learning.”

Whether that translates into change onscreen is an open question. “Everyone seems to be becoming slowly aware of how overwhelmingly white everything is,” Mr. Ansari said. “It’s almost like the whole system is slowly being shamed into diversity, but it’s moving at a snail’s pace.” He added: “Just look at the movie posters you see. It’s all white people.”

Amanda Hess 「亚裔演员对好莱坞“洗白”文化发出挑战」

在最初拿到美国广播公司(ABC)情景剧《初来乍到》(Fresh Off the Boat)里的华裔女家长杰西卡·黄(Jessica Huang)这个角色时,吴恬敏(Constance Wu)并没有意识到它竟然会这么重要。在扮演这个角色的过程中,她一次又一次地听人提起这么一个惨淡的事实:美国电视上已经有20年没出现过一部由多名亚裔美国人主演的电视剧。ABC上一次推出这样的剧目,即1994年由赵牡丹(Margaret Cho)主演的《典型美国女孩》(All-American Girl),只播了一季就被取消了。







“做演员要面临一个残酷的现实,就是很难以此谋生,这种现实令有色人种演员的处境尤其艰难,”参演过CBS电视剧《夏威夷特勤组》(Hawaii Five-0)的金大贤(Daniel Dae Kim)说道。他目前正在参演百老汇剧目《国王与我》(The King and I)。


其他演员们也纷纷发声,比如出演《硅谷》(Silicon Valley)的库梅尔·南贾尼(Kumail Nanjiani)和出演《神盾局特工》(Agents of S.H.I.E.L.D.)的温明娜(Ming-Na Wen)。还有阿兹·安萨里(Aziz Ansari),他在《无为大师》(Master of None)中饰演一个努力出名的印度裔美国演员。

在他们之前,早已有众多演员与活动人士在做这样的努力,包括《哥谭》(Gotham)中饰演角色的黄荣亮(BD Wong)、把自己犀利幽默的评论转向Twitter的赵牡丹,以及利用自己出演《星际旅行》(Star Trek)所获得的名气,为自己赢得众多社交媒体拥趸的武井穗乡(George Takei)。


过去的一年成为亚裔美国人银幕形象的困难时期。去年5月,索尼公司发行了《阿罗哈》(Aloha),影片发生在夏威夷,但片中全是白人演员,金发碧眼的艾玛·斯通(Emma Stone)饰演一个有四分之一中国血统、四分之一夏威夷土著血统的战斗机飞行员,名叫艾莉森·吴(Allison Ng)。

9月,人们得知,计划中改编自日本漫画《死亡笔记》(Death Note)的电影也将由白人出演。故事主人公是一个拥有黑暗力量的男孩,名叫夜神月(Light Yagami),片中将由白人演员纳特·沃尔夫(Nat Wolff)饰演,名字也简化成了Light。在10月上映的《火星救援》(The Martian)中,白人演员麦肯兹·戴维斯(Mackenzie Davis)饰演的NASA工作人员明迪·朴(Mindy Park)在小说原著中本是一个韩裔美国人。

这个名单还可以继续开下去。12月,《荒唐阿姨大电影》(Absolutely Fabulous)的剧照中,苏格兰女演员珍妮特·塔夫(Janette Tough)打扮成了一个形象夸张的亚洲角色。上个月,漫威影业发布了《奇异博士》(Doctor Strange)的预告片,片中,漫画原著里的藏人僧侣被改成了一个凯尔特神秘人物,由蒂尔达·斯温顿(Tilda Swinton)饰演。

另一部由日本漫画《攻壳机动队》(Ghost in the Shell)改编的真人动作电影将于明年上映,主角草薙素子少校(Major Motoko Kusanagi)将由顶着黑色波波头的斯嘉丽·约翰逊(Scarlett Johansson)饰演,在片中仅被称为“少校”。

电影公司声称它们的电影是多元的。“就像其他漫威电影一样,《奇异博士》里的若干角色和原著有了很大不同,不限于种族、性别或民族,”漫威影业总裁凯文·菲格( Kevin Feige)在一份声明中说。斯温顿要饰演的角色原本是男性,而切瓦特·艾乔福(Chiwetel Ejiofor)将饰演一个原本是白人的角色。《攻壳机动队》背后的派拉蒙电影(Paramount)和梦工厂动画(DreamWorks)则说,该片反映了“多种文化与国家的组合”。


今年2月,奥斯卡奖颁奖礼的电视直播更是在伤口上撒盐。人们用“#奥斯卡太白了”(#OscarsSoWhite)这个标签来抱怨奥斯卡缺乏多样化,颁奖礼也就此大做文章,然而它却漫不经心地用基于亚裔刻板印象的笑话来嘲弄亚裔美国人。主持人克里斯·洛克(Chris Rock)带着三个亚裔美国儿童走上舞台,让他们充当视觉笑点。而且他们就是取笑的对象。

“我从没有见过亚裔美国人群体这么团结地组织起来,而且这么快,”充当好莱坞与中国制片厂之间联系人的电影制作人杨燕子(Janet Yang)说。她补充,“那是最后一根稻草。”

几天之内,杨燕子与包括演员吴珊卓( Sandra Oh)、导演李安和武井在内的其他24位电影学院成员签署了一封致电影学院的公开信,对电视直播中冒犯亚裔的笑话提出严正批评。电影学院简短的回复只是激起了人们的怒火。武井说它是“无动于衷的企业式回应”。





继《初来乍到》之后,ABC首播的情景喜剧《肯医生》(Dr. Ken)呈现了一个亚裔美国家庭,家长是这部剧的主创郑肯(Ken Jeong)。ABC播出的情节剧《谍网》(Quantico)中则有宝莱坞女星普里扬卡·乔普拉(Priyanka Chopra)。CW台的《疯狂前女友》(Crazy Ex-Girlfriend)中蕾切尔·布鲁姆(Rachel Bloom)饰演的前女友爱慕身材健美的文森特·罗德里格兹三世(Vincent Rodriguez III),他是个菲律宾裔美国人。同样打破旧有模式的还有《明迪烦事多》(The Mindy Project)的主创兼主演明迪·卡灵(Mindy Kaling),以及在《基本演绎法》(Elementary)中改造了华生医生形象的刘玉玲。

这些电视剧都很有帮助,但是这个问题仍然很普遍,在电视中也是如此。“好莱坞的主流想法似乎仍然觉得异性恋白人的故事才是普遍的,其他人的故事都更小众,” 安萨里在电子邮件中写道,“这并不是真的。从我还是个印度小男孩的时候,我就在看有中年白人问题的角色了。”

在电影里,有一些角色已经超越了刻板印象:比如武井先生在早期《星际飞船》中的角色、刘玉玲在《霹雳娇娃》(Charlie’s Angels)中的角色,还有约翰·赵(John Cho)和卡尔·潘(Kal Penn)在吸毒笑剧《猪头逛大街》(Harold & Kumar Go to White Castle)及其续作中的角色。更多电影还在拍摄中:比如根据凯文·关(Kevin Kwan)的小说《疯狂的亚洲富人》(Crazy Rich Asians)改编的电影正在拍摄之中,越南裔美国女演员凯莉·玛丽·陈(Kelly Marie Tran)将在下一部《星球大战》(Star Wars)中饰演重要角色。



因此,有些人开始淡出镜头。卡灵、郑肯、安萨里等人开始创作自己的剧集,《夏威夷特勤组》(Hawaii Five-0)中的丹尼尔·金开了自己的制作公司3AD,“用来讲述那些未被充分代表者的故事,”他说。亚裔美国演员和其他少数族裔演员,他补充说,“已经厌倦了等待被好莱坞雇佣,饰演那些专为我们定制的角色。”


面向年轻成年人读者的作家艾伦·吴(Ellen Oh)创造了#whitewashedOUT这个标签。她承认,这一代有所变化。“有很长一段时间,谈起亚洲人,就好像只有移民体验,但是现在,第二代和第三代亚裔美国人正在表达自己的心声,”吴说。


互联网允许人们想像一个由亚裔美国人主导银屏的平行世界。本月初,对漫画改编电影《攻壳机动队》感到失望的影迷们用Photoshop把该片一个宣传剧照中的主演约翰逊换成了日本著名演员菊地凛子,后者曾主演《环太平洋》(Pacific Rim)。

前不久,标签#StarringJohnCho在网上疯传,它是把韩裔美籍明星约翰·赵想像成爱情喜剧片和动作片的主演。虽然赵在《寻堡奇遇》(Harold and Kumar)之后在《星际迷航》(Star Trek)系列影片中获得一个角色,但和他一样事业起步良好的白人演员获得了更耀眼的角色,比如主演《一夜大肚》(Knocked Up)之后的塞斯·罗根(Seth Rogen)或主演《银河护卫队》(Guardians of the Galaxy)之后的克里斯·普拉特(Chris Pratt)。

“我把《谍中谍》(Mission Impossible)海报上汤姆·克鲁斯(Tom Cruise)的脸换成约翰·赵的脸,我和朋友们开始咯咯笑,好像在说:‘那该多疯狂啊?’”创造这个标签的25岁的威廉·俞(William Yu)说,“然后我忽然意识到,为什么那样的想法一定是疯狂的呢?”

而后又出现了#StarringConstanceWu,它是用Photoshop把女演员吴恬敏换到艾米莉·布伦特(Emily Blunt)、德鲁·巴里摩尔(Drew Barrymore)和艾玛·斯通主演的电影的海报上。

The Nerds of Color网站的创始人基思·周(Keith Chow)说,活跃分子的情绪迸发是“一股浪潮”。这个极客文化批评网站是几个在线活动的大本营。

它让好莱坞的一些白人醒悟过来。斯通承认,她在《阿罗哈》(Aloha)中饰演的角色成了“笑柄”。本月,《奇异博士》(Doctor Strange)的导演斯科特·德里克森(Scott Derrickson)在Twitter上说,“好莱坞在电影中洗白、固化、抹去亚洲人的行为给亚裔美国人带来了愤怒和创伤。我在倾听,在学习。”


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Erin Chew 「Racism within the Australian LGBTIQ movement – Power, Politics & Games of Control Over Our Gay Asian Brothers」

Okay, so before I write this insightful and angry piece, I would like to openly disclose, that I have had many hours, days, weeks and months of consultation with my Asian brothers in understanding how to present this topic. My views are my perceptions and observations fueled by my anger and frustrations as to how our Asian brothers are treated within the broader gay movement in Australia.

As an Asian woman who is passionate and has pretty much dedicated her life to Asian activism and empowerment, I am disturbed by the belittling and the demoralisation which our gay Asian brothers go through within the mainstream gay movement. Every time I speak to my Asian brothers, I am continually told about the politics and the games of control that white gay men play to assert their dominance. As an Asian gay man, you are pretty much offered an ultimatum – either you assimilate to what gay white men tell you, or you become an outcast.

In Australia the main agencies which are Government funded for the LGBTIQ community are controlled by white Australians, and when you get to gay men agency, you will need to squint pretty hard to spot the Asian or a person of colour. It is as though there is an intentional shut out for gays of colour, because white knows best don’t they? And because most of the agencies are funded to talk about sexual health, that is pretty much all they do when engaging with our Asian brothers. There is no concern or intention in assisting Asian brothers who are still in the closet or are new to the scene to understand their identity and where they belong. They don’t understand sexual health also has other dimensions that is not necessarily sexual but will feed into that area. For example, when a young gay Asian feels worthless and unloved, with no attention they take unnecessary risks when asked to do unsafe sex. And the moment a guy (usually white) gives them some needed time and attention, the young Asian gay man will usually kowtow and will engage in risky behaviour. Family, community, identity are important and inter-related to gay Asians so much so that these factors play into their health needs. But according to these white gay agencies this is not a priority and they only care about is to tick a check list that they have fulfilled the minimum as per their Government funding. And the most interesting thing is, these agencies are extremely rich, but their budgets for any program regarding gay Asian men, is pretty small and dismal.

Now many of my Asian brothers are quite involved in social activism. They have been involved in advisory groups which are meant to do exactly that ADVISE.... however, from speaking to my brothers, a lot of decisions relating to gay Asian men are still being made by these culturally incompetent white gay men, and the concerns our Asian brothers raised are heard but ignored. Gay Asian men have been talking and voicing their concerns but no one listens, it is as though it has fallen on death ears. To add more salt to the wound, these controlling white men will put efforts to control any remnants of support networks, social media pages and groups built for our Asian brothers by our Asian brothers, because they feel the threat that maybe Asian gay men are empowered to speak up. So before they reach this point,the white gay agencies will intervene with subliminal power plays to ensure they have the intelligence to know what is going on. They exercise the colonial mindset and exert this control, as they know many Asian gays who grew up in Asia have been indoctrinated with the notion that white is best. And so those who do not resign to this point of view will be shunned and isolated, because they are just not listening to what the gay white men are dictating.

The other area which is controlled by gay white men, are the Australian gay media, particularly magazines. I googled “Gay Australian Models”, and all I got was pages of white men. Where are our Asian brothers? Where are our gay men of colour? Are they really that undesirable to the mainstream? Now Australian media is already pretty goddamn white, but holy shit, the gay media are even worse. I looked at the『DNA Magazine Australia』, and surprise surprise, it is all hot bodied white men. It seems that gay media feels white men sells but Asian or coloured men don’t. I found an interesting article on, who have written an article titled: 「Why Are『DNA Magazine』’s “Sexiest Men Alive” Predominately White?」 According to the article:

『DNA Magazine』, an Australian magazine for gay men, released their highly anticipated annual “Sexiest Men Alive” issue. The issue contains a list of 47 men, gay and straight, from various professional backgrounds including modeling, adult entertainment and acting. According to『DNA Magazine』, the sexiest men alive include Chris Hemsworth, One Direction and YouTube sensation Bryan Hawn. What’s missing from『DNA』’s extensive list? Men of color.

According to『DNA』’s list 80 percent of the sexiest men alive are white. Of the 47 men who made the list, 38 of them are white. The list included four Latino, two Asian, and two black men, as well as one of Indian decent. Although these men are of color, they have noticeably light skin. In addition, the list lacks trans men.

And to add more fuel to the fire, one of my Asian brothers attended a party where the Editor of『DNA』was also present. He confronted the editor and asked why no Asian men or men of colour were featured in the magazine. The editor responded that『DNA』understands his target market, and its a commercial decision that we have opted not to featured men of colour we featured a black model once and our sales dropped by 40% and they never did it again and he also said we feature other men too but not on the front page.

And just look at these other gay media sources –『SX News』and『Sydney Star Observer』– do I need to say anymore? But alas there is some hope, because as a result of this total whitewashing the『Archer Magazine』was established and wow, their front covers are all people of colour from the LGBTIQ movement. Finally, something refreshing! There is also a magazine called『A-Men』(created by my Asian brothers) to create a space for Asian gays to be seen, be visible and to strut their stuff and confidence.

So to end this rant/post/ angry writing – whatever you want to call it, I want to again leave a kind message to these gay white agencies and media: I implore you to please allow our Asian brothers to for once have a voice in the movement. And despite the fact that I am a straight Asian woman, my best friends and many of my fellow brothers are gay Asian men. I talk to them regularly, and they tell me about the injustice, inequality and the oppression all of the white gay men agencies bestow upon them. I just want to let you all know, I stand in solidarity with all my Asian brothers to ensure they are empowered and will voice their concerns and issues over your pure white assimilist agenda. I would encourage all of you gay white men to get some education on cultural competency. So......

If You Offend My Asian Brothers, You Offend Asians Everywhere!... and I mean it!

If you are interested in reading a previous article I wrote on 「Why do Gay WHITE Men say NO to Asian Men?

And if you want to read the article on 「Why Are『DNA Magazine』’s “Sexiest Men Alive” Predominately White?

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AMBER 劉逸雲 「Need To Feel Needed」


AMBER 「Need To Feel Needed」 - released on May 25, 2016.

AMBER’s new single 「Need To Feel Needed」 and its music video has been released.
The song is co-written and composed by AMBER and the music video is directed by her too. Enjoy the music video and show lots of love and support! Lastly, AMBER’s official YouTube channel is now available. So please subscribe to her channel and explore her talents!

f(x) 에프엑스
Official Website (South Korea):
Official Website (Japan):

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A & M 「Part III : Asian Masculinity & Identity」

Posted on May 21, 2016 commentaires
Stages of Identity

Conformity: This stage is characterized by a trivialization or minimization of race and racial dynamics. Asian Americans want to assimilate into the White community and do not see themselves as racialized beings, often viewing the world as color-blind. Adopting a conformity worldview also involves an internalization of the values, norms, and beliefs of the dominant culture and a devaluation of Asian Americans and Asian culture, values, and norms. In this status, individuals do not progress until they are exposed to alternative worldviews regarding their racial identity or are personally subjected to racial discrimination.

When your young, you do not see the world as colored. Everyone seemed equal. “Asian,” “Black,” “White” were just words, not attached to complex meanings. But at this stage, it also means dissociating with being asian. Did you bring you rice box to school, but only wanted to eat sandwhiches because you were ashamed of eating Asian food? At one point, all of us tried to conform. We tried to be white.

It seems that most of us do not acknowledge that racism exists, or that we are seen as minorities, or outsiders. Some of us may legitimately not know, but some of us are purposely ignorant to the realities of the situation. The purpose of this book, is to ultimately enlighten you on the reality of being an Asian male, in hopes that you can leave the matrix, and take the pill.

Dissonance: The development of the dissonance status of racial identity begins to evolve as Asian Americans continue to encounter experiences that suggest that race may be related to the differential treatment of both themselves and others. Events such as witnessing acts of overt white racism, being the object of racial stereotypes, and gaining an awareness of Eurocentrism may act as powerful catalysts. This status is often marked by “anxiety, confusion, and racial ambivalence.” Asian Americans begin to reevaluate White norms and explore the Asian and Asian American communities. Individuals begin to question their inherent acceptance of White norms and their belief that all races are treated equally.

But then at some point, the racism of the world gets to you. You question why these events happen to you. You question why you are the object of racial stereotypes, over and over again. You question why you are asked “Where are you really from?”, as if you aren’t american, even though you were born here. And why, always at the roots of racism is the implication that whiteness is superior, but you are not.

But to those who have been enlightened, who have experienced the troubles, the toils, the racism from being Asian, or by educating ourselves, we can see through the smokescreen of invisible cultural, legal, and institutional oppression instigated by the white supremacy. But what is white supremacy? That will be explained soon!

Immersion and Emersion: Cognitively, the immersion status is characterized by a dualistic racial worldview based on an idealization of all aspects of Asian or Asian American culture and a denigration of all white individuals and white culture. The emersion status is characterized by a sense of commonality and solidarity with Asian Americans and support for Asian American-related issues. Asian Americans in immersion and emersion typically educate themselves through Asian American studies courses, participation in ethnic organizations, or community involvement. In light of such racial worldviews, the emotional intensity of the immersion and emersion statuses may range from euphoria and pride in Asian Americans to anger and hostility toward whites.

One day, you realized that the world is not colorbind, and that everyone views people thru colored lenses. You realize that in your whole life, at one point or another, that your experiences have been colored by your race . So you take pride who you are, to fight against the daily doses of Racism, Stereotypes that you experience every day. You have Asian Pride. #PanAsianism. #AZNPRIDE.

Internalization: Asian Americans in the internalization status begin to develop their racial identity from a personally meaningful perspective rather than in response to socially imposed definitions of being Asian American. Alvarez described this status as striking a delicate balance between personal and group definitions while also developing a more critical perspective of their community. Whereas everything Asian American was seen as good and positive in the previous status, negative aspects are also taken into consideration, thereby providing a more realistic assessment of the community.

Integrative Awareness: The integrative awareness status is the most mature status, in which the individual’s “sense of self-esteem is rooted in a self-affirming definition of oneself as an Asian American.” In this status, Asian Americans are also able to integrate multiple identities into their self-concept, such as their gender and sexual orientation, and socioeconomic status
— into a holistic concept of self that is inclusive of the various facets of one’s personhood.

But then you realize, that not all is well with the Asian American community. It still needs work. You may realize that some Asians who seem to proud to be Asian simultaneously undercurrents of internalized racism. (What is that? Explained Later...) You may realize that even though we have Asian american activist organizations are devoted to a particular side of the Asian american community, but seem to avoid the other side......

The Goal
Asian Americans in the Internalization status begin to develop their racial identity from a personally meaningful perspective rather than in response to socially imposed definitions of being Asian American (Alvarez, 2002). Alvarez described this status as striking a delicate balance between personal and group definitions while also developing a more critical perspective of their community. Whereas everything Asian American was seen as good and positive in the previous status, negative aspects are also taken into consideration, thereby providing a more realistic assessment of the community. The integrative awareness status is the most mature status, in which the individual’s “sense of self-esteem [is] rooted in a self-affirming definition of oneself as an Asian American” (Alvarez, 2002, p. 40).

This is the ultimate goal. This is the mount Everest of the Asian American Community. You should have pride and be proud to be Asian, yet critical of both positive and negative points of the community. You should be proud of being an Asian Man or (An asian women) . We face many troubles, but we are Asian, and our motherlands have long ancient histories that we should all be proud of. Our masculinity may be taken by the white male, but we can form our own definition of Masculinity that is uniquely asian, and better then the misogynistic masculinity of the white man.

A & M : Awaken your inner Asian
Official Blog:

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A & M 「Part I: Asian Masculinity & Identity」

Lets start of with a quote. This one is by Junot Díaz,『Boston Review

“And yet here’s the rub: if a critique of white supremacy doesn’t first flow through you, doesn’t first implicate you, then you have missed the mark; you have, in fact, almost guaranteed its survival and reproduction. There’s that old saying: the devil’s greatest trick is that he convinced people that he doesn’t exist. Well, white supremacy’s greatest trick is that it has convinced people that, if it exists at all, it exists always in other people, never in us.”

If you try and tell your white friends that you have dating problems, and that Asian men face an unfair disadvantage in the dating world, they will probably tell you that you are deluded for thinking so. They may in fact snigger and laugh at you for saying something like that. Thinking again, this is probably the stupidest thing that you can do. Don’t go to your white friends to try to get them to sympathize with you, because they probably won’t. What do you do then? You should probably turn to your Asian friends. Some of your Asian friends will probably have sympathy for you; they probably have experienced the exact same thing that you have. But some may also call you deluded for thinking so like your white friends. It’s best to ignore those guys.

What about Asian girls ? Can you have some sympathy from them?.... it’s probably best not to gain sympathy from them either. Your probably expecting to gain some sympathy from the Asian sisters too right? In fact, I do too. The truth however, is more muddled. You won’t get any sympathy from your Asian sisters either. But don’t lose hope, some of them can see through the bullshit for the truth. So what’s the problem with Asian women then?

The problem is with Asian Feminists. Asian Feminists are what you call normal feminists. Except for one thing. Whereas traditional Feminism is about dismantling the Patriarchy, the definition of Feminism in Asian circles is about dismantling the Asian Patriarchy. There’s nothing wrong with that in Asia, where Asian men hold the power, but what about in North America? As Asian men, we don’t hold much or any power in America. All the institutions in this country whether Legal, Cultural, Political are controlled by white men. So logically Asian feminists should be attacking the white patriarchy right? Yet, Asian feminists still have a problem with us. We are, apparently Patriarchal, yet we do not possess any of that patriarchal power.

Then there are women like this  —  「I’m an Asian Woman and I Refuse to Ever Date an Asian」. Source : XOJANE

I’m an Asian girl. I don’t date Asian guys. Yep, I’m one of those that date lots and lots of (mostly, but not always) white guys.

Why? It’s simple: I’m a racist.

I date white men because the term “model minority” grosses me out. I date white men because it feels like I’m not ostracizing myself into an Asian ghetto and antiquated ideas of Asian unity. I still see myself as a minority. And with that, pretty soon comes connotations of “outsider.” And I don’t like that.

Dating white men means acceptance into American culture. White culture.

Wait, What? What the hell ? How did things come to this? To explain that, we must tell the story of our own identity. Because the history of the Asian American male experience is inextricably linked to what we experience today.

Throughout the 1900s, stereotypical images of Asian American men were seen in cartoons, Broadway shows, film, and television shows. White actors put on “yellow face” and taped their eyes to appear Chinese or Japanese. The movie character Dr. Fu Manchu was an Oriental mastermind who typified the lack of heterosexuality and the Yellow Peril at the same time (Espiritu). The buck-toothed bumbling image of Asian American men could be seen in movies such as 「Breakfast At Tiffany’s」, while the nerdy, lustful image could be seen in 「Sixteen Candles」. In the Broadway production 「M. Butterfly」, the effeminate image of Asian American men became intertwined with issues of sexuality when the lead character was a cross-dressing Chinese male spy who falls in love with a British male spy (J. Chan). South Asian American men became equated with turbans, mystics, and quickie-marts in shows such as 「The Simpsons」 and the film 「The Guru」. 「The Joy Luck Club」 became a mainstream Asian American movie that had very few, if any, redeeming Asian and Asian American men. They were portrayed as misogynistic and cheap, and their Asian American women love interests turned to relationships with White men. Source

Asian men have always been portrayed negatively by the white supremacy. From white actors that have put on “yellow face” to appear east Asian, too Asian characters that embody the worst qualities (i.e. Nerd, lustful, effeminate). But what is most suspect might be the constant pairing of Asian females with white males. It isn’t a coincidence that there are so many films always pair the Asian female with the white male.

And heres more. Here’s a partial list of films, all with WMAF pairings. Think of how many AMWF pairings are on screen. Walking dead」..... and ?

A Partial List of Films With WMAF pairings
  • 1907–1927+ 「Madame Butterfly」
  • 1922 「The Toll Of The Sea」
  • 1989+ 「Miss Saigon」
  • 2004 「The Beautiful Country」
  • 「The Expendables」 (can’t remember which one)
  • 1985 「Rambo: First Blood Part II」
  • 2013 「Ninja: Shadow Of A Tear」
  • 1989 「Kickboxer」
  • 1984 「The Karate Kid 1」
  • 1986 「The Karate Kid 2」
  • 2010 「Karate Kid」 (reboot)
  • 2008 「Iron Road」
  • 2003 「The Last Samurai」
  • 2013 「The Wolverine」
  • 2013 「Make Your Move 3D」
  • 2013 「47 Ronin」
  • 2014 「Fist Of The Dragon」
  • 2009 「Ninja」
  • 1991 「Showdown In Little Tokyo」
  • 2002 「The Transporter」
  • 1993 「Joy Luck Club」
  • 2008 「The Forbidden Kingdom」
  • 2012 「The Man With The Iron Fists」
  • 1997–2002 「Ally McBeal」 (tv series)
  • 1999 「Payback」
  • 2000 「Shanghai Noon」
  • 2003 「Shanghai Noon 2」
  • 2012 「Safe」
  • 2007 「Live Free Or Die Hard」
  • 1960 「The World Of Suzie Wong」
  • 2001–2011 「Harry Potter」 series (Sorry for ruining your childhood)
  • 2008 「Bangkok Dangerous」
  • 2006 「The Fast And The Furious: Tokyo Drift」
  • 2006 「The Fast And The Furious 7」 (AKA Furious 7」)
  • 2013–2015+ 「Mistresses」 (tv series)
  • 2010 「The Social Network」
  • 2014 「The Interview」
  • 2015 「Blackhat」
  • 2014 「Marco Polo」 (tv series)

One has to ask, why are there so many films with this type of couple? Why isn’t there a single film where AMWF is represented? This is social engineering at its finest. If you don’t believe that Asian men are emasculated by white society, then ask yourself this question: What is the purpose of such underhand tactics if not to emasculate asian males?

The Concept of Asian Masculinity
In a study of Asian Americans and identity, Kohatsu (1992) found that men were significantly more aware of racism than women. This finding is not surprising considering the historical and cultural oppression geared toward Asian American men.

It isn’t surprising that Asian men face more racism then Asian women. The typical portrayal of Asian women in the media is a women that is submissive, exotic, and a sexual geshia. But it isn’t women that have to put their self out there, it is men. Hence, men feel much more racism then women. For other men, they might not be associated with a stereotype at all. But as Asian men, it seems most women think of as stereotypes, instead of the human beings that we are. And as discussed earlier, Asian men have faced the most oppression in all three spheres of public opinion: Legal, Political, and Cultural. So under this oppression, we must not let White supremacy control our narrative. We must create our own masculinity as defined by us.

Asian American masculinity is a concept that has been mostly externally defined (J. Chan, 2001; J. W. Chan, 1998; Espiritu, 1997). With the locus of control largely being external, the impact of racism and a racialized gender identity on Asian American men could create negative self-evaluations due to a failure to live up to others’ expectations.

J. Chan explored the popular images of Chinese American men, finding that archetypal images of being effeminate yet also kung fu master were used to relegate Chinese American men to a lower social status than other groups.

Within the framework of hegemonic masculinity, Asian American masculinities are then subordinated, as are other forms of masculinity, such as those among men of color, gay men, and bisexual men. Some of the existing literature on Asian American masculinity focused on White perspectives of Asian American men as effeminate and asexual while at the same time patriarchal and domineering (J. Chan; J. W. Chan; Cheng, 1996; Chua & Fujino, 1999). These contradictory and competing images of Asian American men serve not only to uphold the cultural and institutional racism in society but also to confuse the development of Asian American men to the point where their self-images are in reaction to those popular images as opposed to being internally defined (J. W. Chan; Espiritu; Liu, 2000, 2002).

The concept of Asian Masculinity, from the start has been from the onset, defined by whites. They haven’t given us a chance to define our own masculinity, and they never will. From the onset, our masculinity has been subjugated by white men. Masculinity is not as simple as just a simple idealism of what it is to be a man. There are particular ideals in different societies to what a man should represent, and that is easily seen.

In America however, the masculinity that american society idealizes does not include us. But why hasn’t it included us? Because this was instigated on purpose, in order to emasculate us; these stereotypes serve to uphold the cultural and institutional racism to prevent us from developing our own male identity. So stop beating yourselves up over stereotypes, none of them are true. We need to define ourselves as men without resorting to reactionary measures like “I’ll go to the gym more, I’ll do more self -improvement, so I can get girls!!!”

In Cheng’s (1996) studies on masculinities in organizations, college students had to select among their classmates people who would serve as leaders for group projects and what values they needed to possess. He found that all the leadership values students were looking for were based on hegemonic masculinity. What naturally followed was the selection of mostly White men to be group leaders followed by White women who emulated masculine behaviors. Of all the racial and gender groups, Asian American men were the least likely to be chosen for leadership positions within their class. Students cited meritocracy to rationalize their decisions. However, when Cheng analyzed all the selected leaders based on merit alone, the Asian American men were more qualified than the students who were selected.

In other words, even though we are more qualified, we are not allowed to be leaders because we are asian. AKA the bamboo ceiling, it exists because of RACISM. “Holistic” assessments that penalize us are because of racism. People that say we study too hard or play too much violin and piano? Racists.

He found that supplemental forms of oppression existed for Asian American men whereby their masculinity and sexuality were intertwined. He contended that the queerphobia in Asian communities, privileging heteronormativity within the Asian culture and denigrating queerness with Whiteness, presented supplemental forms of oppression that did not replace mainstream racism and queerphobia. In addition to feeling oppressed within the Asian American community, queer Asian American men may also feel oppressed within the queer community with the appropriation of U.S. Orientalism that exoticizes and colonizes Asian American men into hypersexually desirable beings. Kumashiro cited the inversion of privilege and oppression within both the Asian American community and queer community as new forms of oppression

Think you are the only one being emasculated, and stereotyped? Wrong. Oppression of Asian American men exists and oppresses men who are homosexual. Queer Asian American men are also oppressed and excoticized. Whether we are gay or straight, all Asian men are oppressed. We are all in the same rocking boat, whether we like it or not.
Read 「Part 2 of Asian Masculinity & Identity」 Here.

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「Why queer Asian men often date white guys」

Posted on May 20, 2016 commentaires
Jake Choi & James Chen, the lead actors from Ray Yeung's film 「Front Cover」.

GROWING up as a queer Asian person in Australia can be a unique and tiring ordeal.

Trying to figure out which culture you belong to as well as dealing with potential racism is a commonly shared experience.

Edison Chen aims to flesh out the intricacies and influences that exist within this cultural mesh.

“Kiss more Asians,” Ray Yeung joked at the Mardi Gras Film Festival Q&A for his movie 「Front Cover」 – a Chinese love drama.

In attendance was an audience compromised of mostly gay Asian men and we all silently acknowledged each other’s collective experiences as some chuckled at this comment.

The underlying sentiments behind these words were all understood like a piece of ironic fashion though.

We all knew because of our shared cultural background that we all took part on a similar journey of sexual racism.

When asked about his reasons for making the movie, Ray answered that he noticed a lack of gay Asian men who were interested in other gay Asian men in western countries.

In one scene in the movie, a young Caucasian man eyes and approaches the main character Ryan as he and his love interest Ning dance in a nightclub.

Suddenly, the stranger starts to kiss Ryan’s neck and in that particular moment you enter the same space as we imagine ourselves in Ryan’s place of who to pursue. Does Ryan reciprocate the young handsome white man’s affection or keep his attention on his new friend whose cultural similarities helped bring them together?

In a bigger sense, I think this imaginary situation touches something deeper and real in a lot of us. Ryan is a character who embodies the first-generation story of an Asian person born into Western society. Reflected in the fragments of his personality are echoes of Asian gay men who live in Western countries. People whose everyday lives becomes a negotiated and cultural amalgamation of Asian, Western and queer identities.

Do we belong to either western or eastern culture? Are our desires influenced by our struggle for identity? And what commonalities lie within our collective psychological experiences?

The tension of east and west and some of its complexities are especially exhibited in our dating scene. In popular gay Asian colloquialism, there lies the cultural notion that desires revolve around two specific racial choices – rice or potato?

This divide seemed commonplace, even manifesting itself within a speed dating event in Sydney. At this event, there were separate GAM (gay Asian male) 4 GAM and GAM 4 GWM (gay white male) sessions planned out for prospective singles to choose from.

I went along to the GAM 4 GAM dating event to see if I could discover anything significantly relevant to cultural perceptions. At the event, we were given 12 dates at five minutes each and no one was allowed to talk about work.

Interestingly a lot of the people I came across were open to everyone in terms of race when I asked them. ‘How do you know what you like until you sample all the flavours?’ philosophised an exuberant Micheal. I wanted to pry even further though, so I inquired if there were any patterns or differences in their dating experiences when it came to dating either white or Asian men.

Three people separately mentioned smell which I guess is fair. A guy called Don told me he felt more comfortable with Asian guys since more of them wanted something similar (in terms of a relationship), while Caucasian men were either interested in a hookup or seemed much older than him. Another person, Jason agreed with this and said that he preferred Asian men because they were similar in their traditions.

Jason also felt that other Asian men were culturally more family orientated and more open to monogamy and dating, whereas western guys appeared to be focused on sex. Eric, another person in the same conversation mentioned that he’s had contradictory experiences.

As someone who was born in Australia, Eric expressed a preference for western-cultured people.

When I brought up the topic of gay Asian men who were only interested in pursuing white men, Jason felt as though it’s a form of ‘self- hate’ to which Micheal agreed.

“It’s disappointing that people … find Asian people lesser than white guys,” he said.

Eric said that it feels like a type of betrayal.

As Eric continued to talk, he revealed how he became more comfortable with his cultural heritage growing up. It was during that process he became more open to dating other Asian men.

Jason also recalled a similar experience. He believes some Asian men go through a journey where they discover themselves in life, and then are ready to date other Asians.

Researcher Senthorun Raj has written essays in which he argues through Professor Ghassan Hage that ‘whiteness’ is expressed and received as more of a cultural capital than someone’s ethnicity.

In an Australian context, it is a ‘yearning’ for ‘national belonging’ that only exists with the ‘existence of a racial ‘Other’, and can be rewarded with ‘social mobility’ or a sense of ‘citizenship’.

Through another scholar Alan Han, Senthorun makes the obvious point that this capital seen as whiteness is associated through being ‘white’ (having a Caucasian or European body.) In a sense, being able to attain this whiteness (even through association through others) marks a sense that we belong to this sort of class.

Senthorun also wrote of being able to perform internal ‘whiteness’ which people are able to use in order to belong. Often first generation-people from other countries are called some type of food, ‘banana’ or ‘coconut’ to literally represent their internal whiteness.

Senthorun shared a personal Grindr experience where someone told him that he’s ‘nothing like expected’ because of his lack of accent, and so he isn’t ‘really Indian after all’.

Michael, a friend from the speed dating event said that he prefers to meet people in person because there’s a better chance for a personal connection. What he expressed seems to also suggest that if we have a chance to show how non-stereotypical we are, we then can prove how ‘white’ we are on the inside.

Growing up as an Asian person in Australia can also be a disorientating experience be- cause of the bodies that surround us. There may be points in our lives where we don’t recognise our Asian features because they are so disassociated to the ones in popular media. We might personally wish that we had blue eyes and blond hair so we fit in to the represented ideal or normal person.

And in addition to our sense of selves, our skewed ideals of romance are constructed through the same lens.

It doesn’t seem to be a coincidence then that in a media landscape of white faces, that whiteness can be seen as a cultural capital if its stereotypes are expressed as mostly positive (heroic love interests) and diverse. On the contrary, if our experiences of Asian, or othered coloured men are reduced to shallow stereotypes, then how are we expected to believe in or love them?

It’s difficult then to try and break out of the fantasies we are given, and to turn away from the acceptance we desire for in the ‘whiteness’ that dominates both queer and Australian communities. Looking back, it’s why I admired the political undertone that the guys in the speed dating were able to exhibit in their ability to love their own culture. In our journey for belonging, maybe awareness is the first step that we should take collectively to accept all the parts that come together to make us who we are.

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