Author Archives: Emily

Week 4, Thursday II. Crisis within Films

The Midlife Crisis.

Slanted Screen: the crisis lies in stereotypes and the negative portrayals of Asian American men in films. However, like Slaying the Dragon, hindsight is 20/20, especially when the opportunities for Asian Americans in lead roles were nonexistent. At the birth of the movies these artists were groundbreaking in their contributions to the films. And while the racism, sexism, and other discrimination existed it isn’t until later, during it’s “midlife” when people begin to take these roles and plots apart, analyze them closely, compare them to history, and then critique them. Orientals is in, itself, an example of this midlife crisis. With Lee’s descriptions of movies such as Year of the Dragon and Rising Sun he illustrates the ways in which Asian American men are still misrepresented, underrepresented, and in need of a midlife crisis.

Saving Face: this movie moves past and breaks other stereotypes, such representing Asian American male sexuality (the many dates that Wil’s mother goes on, Cho’s attraction, and Little Yu’s surprise role) and the role of two queer Chinese American young women. While Wil’s character is a hard-working surgeon (at the beginning of the film the head surgeon says she will be Chief of Surgery by the time she is 45- five years before he stepped into the role) she is also seen as a multi-layered, complex woman. Other than the few, quick scenes in which she is seen in scrubs or her beeper is going off the majority of the film is focused on her as a daughter and a lover. This film also pushes back against the stereotype that women need to be put in physical danger or pressured situations to find love and be saved.

So here it is. The midlife crisis of Asian American films; without forgetting the contributions that Sessua Hayakawa or Bruce Lee made in showing other Asian Americans that representation is possible, it is now time to look at how those representations are limited and how the presence of Asian Americans on screen can (and needs to) still grow. Likewise, in Slanted Screen one of the people interviewed (the only women-who was white-) said that “there aren’t any good roles for Asian men in film.” I had a problem with this because it assumes that Asian men only have specific roles and unless those specific roles are written there is no part for them. As Lee points out in Orientals, the roles written for Asian American men were roles that subjected them to embodying the stereotypes that white America had projected onto them. Similarly, by writing “Asian roles” the projection of what an Asian role is and what the lead hero role is, recognizing the pattern in both of them to influence our acceptance of these stereotypes. On page 220 in Lee, there is an analysis of film Falling Down‘s main character and how his excessive reactions become comical.  Lee comments the audience is prompted to laugh at his reactions which becomes comedic despite his obvious, unnecessary rage. By “writing these roles” for white men and then writing the role for his antagonist and casting an Asian American man we are training the audience to desensitize themselves and accept the protagonist as funny. (See: Gran Torino.)

Week 3, Tumblr findings.

After watching The Debut I found the lead character, Dante Basco’s tumblr.

The name of his tumblr blog refers to two characters he’s played. The first being Rufio in Hook (1991). The second beingthe voice of  Zuko, prince of the Fire Nation in Nickelodeon’s cartoon series Avatar: the Last Airbender. Being someone who invested a few months of time in watching the series once it came out on Netflix, I was excited about this connection and decided to do some link-to-link clicking and see what kind of connections I could make with the series and the Asian American community.

One of the first connections I found was within the theatre company the East West Players (EWP). From their mission statement on their website: “As the nation’s premier Asian American theatre organization, East West Players produces artistic works and educational programs that foster dialogue exploring Asian Pacific experiences.” Dante Basco is apart of this company along with many other voice actors from A:TLA. In fact, one of the founders and artistic directors of EWP also played Basco’s charcater’s wise Uncle Iroh in the first season– the late Makoto Iwamatsu.

Other connections led me to an old internet favorite of mine… LiveJournal. While LiveJournal has lost some of its popularity, it was once a head blogging site and place for people to form blog communities based on their interests (or disinterest). This was the place I entered my very first fandom and where my internet presence truly began. And as a current computer tech I have to honor the my first internet obsession. So I bring to you:

1. Specific posts from an older LiveJournal that criticized Paramount Pictures’ casting choices in the Avatar: the Last Airbender motion picture adaptation (2010):

This one has to do with the EWP and the white-washing within the film.
This one is a “visual essay” on the influence of the Inuit culture in the television series and the inappropriate choices of actors to represent that culture.

2.  A post on the influence of the four elements used to represent the four nations in the A:TLA universe.

From these posts I was influenced to keep searching and found a new blog post that really beautifully illustrates the problematic aspect of whitewashing in media from a first hand experience. Here’s the beginning excerpt:

“When I first saw Avatar: The Last Airbender (ATLA) on Nickelodeon, the first thing I thought was, “whoa…”
That was because the main character, Aang, had a skin colour that is similar to mine. Aang was not a stereotypical Asian. He doesn’t wear glasses or have tiny eyes. He has big eyes, like mine. That “whoa…” was one of amazement — because for once there was a character and a whole cartoon series that represents people of my skin colour and those darker than mine! Not only did the cartoon have representation I could identify with, but it is also a great series where the characters are not based on stereotypes.”

The rest of that entry can be found here.

I thought these posts and this subject really tied into this last week’s reading (post for that can be found here) because it involves Asian Americans (like Dante Basco) and the kind of work they are involved in currently which illustrates how appropriate representation (such as The Debut or EWP) and misrepresentations (such as the film adaptation A:TLA) have evolved.

And just for fun– Asian History Tumblr’s resource page.

Week 4, Monday: Lee pg 1-179

The first 179 pages of Lee’s Orientals repeated some information for me and I found that there was a bit of repetition (like how there was an ENTIRE PARAGRAPH, word-for-word, repeated on page 66 from page 65…?). Some of the repeated information felt more like reiteration, especially when it came to Acts or laws and dates and I appreciated that, because I feel very confident in explaining a certain Act or situation but am not always as confident on the exact title or year. However, even with the repeat information (whether appreciated and less personally needed) I found myself wanting to highlight and add marginalia to basically half of every page. The idea of organizing all of my ideas for these six chapters is daunting and overwhelming but also exciting. I doubt I will be able to include everything (and some of it my be fragmented and frantic) but here it goes…

Immediately, Lee introduces the book with a modern example of yellowface and quickly explains the “six faces of the Oriental” (page 8) as well as begins to grab hold of the purposeful difference between Oriental and Asian. This was a difference that I have never encountered in depth. In fact, a lot of the ideas and history that was brought up in the reading was more in depth because it focused on the Asian American Representation history instead of the immigration, day-to-day history.

For example, I have most definitely heard of Barnum and Bailey’s circus but have never thought of the origin or how it could have been developed through discrimination, especially racism and ableism (nor was the term “Siamese Twins” ever analyzed in previous readings). The discussion about the history and development of minstrelsy in relation to multiple People of Color in America was also an in-depth first. This history of yellowface, blackface, redface, and brownface is so deeply apart of American culture that it continuously pops up in our modern media and entertainment. Here’s a video I found by searching “fake Asian accent [TW: yellowface, racism]. In the video a non-Japanese/ non-Asian man dresses as a geisha and uses a fake accent as a promotional vehicle. And while the book clearly gives evidence to how yellowface has had much acclaim and was widely accepted (illustrated through the song in the 1880s as seen on page 37 and into the 1900s, page 70; then into 1957′s Sayonara Cuban actor dons yellowface for character who dons “whiteface”; and finally into last week’s analysis on How I Met Your Mother.) The difference now, one may argue, is that people are more critical of this and don’t accept it nearly as readily. There is more push-back and more the dynamic of racism has definitely changed. However, people are still using yellowface to be comedic. People are still viewing it as an acceptable thing to do. Even if they know it will “get a rise out of people”

Part of this is explained in the racist excerpt from March 1867′s edition of the Springfield Republic, “Nature seemed to have furnished them [Chinese immigrants] with that particular appendage [braided queue] for the benefit of the Anglo-Saxon” (page 39). Another way to look at is the entitlement of white consumption (which is later illustrated through the changing of True Womenhood into New Womenhood and how the New Women was defined not by her Victorian motherly traits but by her desire and capitalist consumption as seen on page 177. This also touches on the male-centered homophobia and homoerotica that the Oriental eventually stood for). White consumption which not only is seen through the appropriation and aggressive stealing of culture but also in the entitlement to consume citizenship, land, jobs, and women.

We see examples of consuming citizenship and land in the history of not allowing immigrants to own land unless they become citizens but denying any Asian immigrant the right to naturalization through the Naturalization Act of 1790. Likewise, we see the consumption of land through the villainous depiction of created-space, such as Chinatowns. This is seen in Sax Rohmer’s Fu Manchu series (page 114).

We see the example of consuming jobs through the rivalry of Irish immigrants and Chinese immigrants. As two minorities (of the time) that were pitted against each other, there was high tension for Irish immigrants to prove themselves as white and reclaim the jobs they were not given based on discrimination. On page 65, Lee explains how white workers and Chinese workers worked together but there was still major steps taken to expel the Chinese workers.

And we see the consumption of women (both Asian and white) through the Page Act of 1870  which interrogated Chinese women who wished to immigrate yet there was an illegal trade happening which forced Chinese women into sex work (page 89). Media such as Poor Ah Toy or magazines (page 97) influenced white women to view their interactions with Chinese men (which- at the time- would still be mostly in house) as service workers as something to be weary and suspicious about. On page 129, Lee explains how the “dirty old man” trope was created with Asian men in mind and how the seemingly-innocent stranger became the one true fear for women (whereas domestic violence and abuse of all types were overlooked). Because white women who married men of color would lose their citizenship this effectively kept white women single for white men but also internalized the idea that there was something unnatural or wrong about marrying an Asian man.

Also noted: the TESC faculty Stephanie Coontz reference (page 86).

Week 3, Tuesday. Gran Torino

Gran Torino really “zooms” into all sorts of uncomfortable situations. (Har har, a lot like that pun!)

Our first stop on the road of analysis takes us to a problem that can be seen in many entertaining mediums: complex characters with simple titles (think: good guy and his best friend, bad guy). When characters with a range of emotion and endless moral options are represented to the viewer as good OR bad it’s easy forget that good can also be bad and bad can also be good. Therefore, we are watching the film and thinking “or” instead of “and”. This gets tricky when we decide that one character is most definitely bad and then naturally assume that the other characters must be good; as long as our role of “evil villain” has been filled it is easier to forgive and forget other characters.

For instance, using the illness of a not-so-nice character as a way to gain sympathy allows us to be more compassionate and forgiving. So even if a character say… constantly stereotypes, discriminates, and even points a gun at other humans just for being on his lawn the viewer may find it easier to sympathize with him if he is coughing up blood and his son is also seen as a trivial bad guy, too. Similarly, if that character shows a progression of compassion we too find ourselves growing in our fondness of him. But does that change who he was or what he’s done? At the end of the movie, Walt (Clint Eastwood) finally foes to Confession and his confession is quite telling– how much have his views (the viewer sees him “grow out of” or learn from) changed if he feels no need to repent them? So, this complex character looses his complexity in our assigning him the role of “bad guy turned good”. His is our Martyr (literally falls to the ground in a pose like Jesus on the cross, let’s be real), our White Savior, our changed man who makes it all better for this Hmong community. Is this where I’m supposed to swoon…?

Our second stop is one not too far from our last and involves the same dangerous bumpiness. This film definitely illustrates racism  but the obviousness of it overrides the more subtle racism and sexism. When Walt meets Youa (Choua Kue) he intentionally calls her Yum Yum. By the ages of those around her, I believe it safe to assume she’s around 15-17.  Walt is well past half-century age. So with his “ha-ha look, I’m nicer” attitude it’s easy to overlook his intentional botching of her name because it’s “funny” and “innocent”. But. Not really. In calling her Yum Yum he is exhibiting his feeling of entitlement in sexualizing her. And, as an elder white male he gets away with it. Even others who hear him call her Yum Yum accept it and laugh.

Our third and last stop: more sneaky racism (when juxtaposed with the more in-your-face racism), what does the movie leave out? What stereotypes does it accidentally perpetuate? Notice how the two other groups represented (three Black males and a group of Latino males) were represented as “Gangbangers” or “thugs”. When we see other white people in the movie represented we see them as vapid and vulgar (Walt’s family, his barber) however when you compare  this kind of representation there is a major difference. Being vapid and vulgar is innocent and forgivable; their personality is more of a statement on “American culture” (in and terms of the barber “the way to be a man”), whereas with both the Black and Latino representations are stereotypes that are not innocent. By internalizing the gang/thug/criminal stereotype both of these marginalized groups are put into danger in true reality.

This film was predictably entertaining but I’m not looking to be entertained by it gain.

Week 3, Sunday. First, last, and current obsession.

First.

Two news stories that have been circulating recently involve the first Asian American [Japanese] to reach space and the first Korean American elected to the Washington State Legislature. Ellison Onizuka was one of the seven crew members aboard the 1986 Challenger which has recently been revisited with the exposure of new pictures from the fateful explosion.
State Sen. Paull [sic] Shin announced at the beginning of January his resignation after being diagnosed with Alzheimer’s.

For more information on Onizuka.
For more information on Shin.

Last.

The last WWII straggler (Japanese soldiers who refused the surrender and maintained their orders after the end of the war) Hiroo Onoda died this month at 91. He lived a jungle in the Philippines and remained there for 30 years until former commander, Major Yoshimi Taniguchi delivered Onoda a personal surrender in 1974.

For more information on Onoda.

Current.

Other trending news this last week was on use of racial stereotypes as a comedic punchline or addition to the punchline; CBS’ How I Met Your Mother aired an episode on January 13 which depicted the all-white main cast depicted in silk robes with speech affectations meant to be “accents” and even Fu Manchu mustache. This triggered any angry responses to the show, especially by one writer, activist and Asian American Suey Park. Park began the twitter hashtag #HowIMetYourRacism and her twitter media feed includes multiple stills from the show and points out the show’s use of yellowface.

Obsession.

In TIME Ideas‘ article writer Kai Ma points out why shows like How I Met Your Mother are so problematic in their racial misrepresentation which is in connection to the misrepresentation of Sen. Shin, Onizuka, and the WWII stragglers. The newly released Challenger photos aid in the anonymity of the crew that who lost their lives and instead focus on the shock content these pictures still hold. Likewise, searching Onizuka’s name reveals his major affiliation with the Challenger while focusing on the explosion but it seems harder to find his affiliation as the first Asian American in space. (It seems even harder at that to find that he is Japanese American from Hawai’i, as many sources I found only state that he is from Hawai’i.) The misrepresentation of Asian Americans comes not only through media sources such as hit television shows or Katy Perry’s geisha performance but  it slips in by feeding the viewers ignorance; big access without full access.

Week 3, Monday. Chapters 10 -13.

I. Chapters 10-13 were relevant to other readings I’ve done and I enjoyed making those connections throughout the book and to other texts. Like previous readings there are examples as to how immigrants were forced to abandon culture (page 463). In order to be accepted they must assimilate and in order to assimilate they must pass as with everything they can, which means going above and beyond with language, dress, etc. finally leading to loss of original culture. Of course there were new points and experiences within these chapters and I found that they wove in and out with other experiences.

II. Pages 361-365: The Korean veterans of World War II, who were denied service at a restaurant and whose stories are similar to other veterans of color, such as the African Americans or Japanese who served; when  these veterans they came home they realized that not only was citizenship not enough to be accepted, but risking their life to honor that citizenship was not enough either. It seems that many of the Asian American experiences post-World War II have become forgotten stories when generally thinking of segregation. In recognizing oppressed groups it is important not to delegitimize the experiences and struggles of one over the other, as this could lead to erasing the experiences and struggles of other groups. Instead, it’s important to look at the history behind both and where both of these experiences are coming from and in recognizing the similarities and differences we begin to individualize the different communities. For example, both Korean and Japanese veterans were targeted through racial violence and segregation during and after World War II because they were both Asian and therefore profiled as the “enemy”. However, with the evacuation of Japanese immigrants and Japanese Americans land and jobs on the west coast opened up (Takaki, page 365). By digging deeper into these forgotten stories, we then are able to trace the road that leads to the present. 

III. I found important connections (page 378) to internalized “Girl-hate” [sexism] and how there is so much internalized and social competition that it overwhelms consideration and morality and blinds people into thinking in terms of 1. “on my side” and 2. “not on my side so I hate them”. This can also be seen with cultural appropriation. For example- the craze for moccasins in the recent years but the historical brutality that was done to Native Nation people in order to “assimilate” them. It lends itself to control of an oppressed group those with privilege and power make the rules for the oppressed (what is normal). Similarly, selfishness and entitlement are so ingrained in American culture but “being selfish” is seen as a very negative attitude which then leads to excuses as to why certain selfishness is okay (“I’m appreciating the culture, not appropriating it”).

IV. Page 393 inspired the analysis on “names to numbers”: a way in which taking away the individuality of a name from a person and then shifting them into number not only affects them psychologically but it also allows the person who is using the number to detach and allows for insensitivity. (Even if not all those using the number mean for that to happen.) There are multiple examples of this happening, where society and media has and does erase oppressed identities. Some of those examples include the incarceration during WWII (Japanese family names), Hawai’ian plantations, prison systems, and sex-culture (how many people you’ve slept with which determines your worth), and fat-shaming (how much you weigh/what size you wear determining your worth).

V. “Racism is like a wall. You cannot break through” (page 463).
The importance of solidarity and how wrecking solidarity (page 416) hurts everyone except for those with the unshakable power. Likewise, going at the wall alone brings overwhelming fear and stress (page 415), which does not support a healthy attitude towards oneself. And without that healthy attitude and the feeling of being powerless it is much easier to believe what others are saying about you and how you are being treated. On page 409 there is a connection with this and how it is necessary to reach back when one advances to pull others up too.

VI. One of the biggest connections I’ve found within this reading as well as with other texts I’ve explored is relationship that education had with race and poverty. On page 424 there is an example of the importance placed on education. For immigrant people who have had to start over in America and who are treated as unintelligent people despite their credentials it does not take much to understand why they would put so much importance on higher education. Likewise, page 427 really connected with 458 leading me to think about conditions inside labor/factory jobs  (being terrible and exhausting) which, in turn, effects life after work/ home life.  Therefore,”free time” is not easily spent learning English or going to night classes, because their free time isn’t really free. Instead, those with exhausting factory jobs may find themselves doing necessary self care or continuing onto another job or going home to care for other family members.

With this cycle it puts all of the pressure on the individual to rise to standards they did not create. If they do not rise, they are an example. If they do rise, they are met with a new set of obstacles. Examples of this can be seen on page 430, where a young Vietnamese immigrant was basically pushed out of school based on unfair expectations (being put into a class that was much more advanced in the subject than he was) and then joined a gang of boys as a way to belong. 

VII. “To be out of sight is to be without social service” (page 478). This was such a powerful, true quote. To be misrepresented is to be placed out of sight. To be erased is to be out of sight. To be incarcerated is to be out of sight. To be reduced to anonymity and stripped of individuality is to to be out of sight. To be told that your language is not acceptable but the resources to learn the “acceptable” languages is to lose your voice and be out of sight. To be under law that restricts your rights is to be out of sight. To be beaten and murdered is to be out of sight. To have your culture appropriated, stolen, and trivialized for profit is to be out of sight.

VIII. Why this program exists: “Asian Americans blame the educational system fr not including their history in the curricula and for not teaching about U.S. society in all of its racial and cultural diversity” (page 482). If we generally do not learn about this history and our usual input of Asian Americans comes from mass media then do we not need to critically analyze the type of media we are being fed? We need to see where it comes from and who is offering us indulgences. There is an incredible explanation on the importance of cultural representations and the stereotypes in media on pages 480-481.

IX. I believe the addition to chapter 133 was very necessary. Chapters 1-12 have such detailed and rich information about Asian Americans and their immigration/refugee story and while I think it’s important to develop a the ability to make connections between then and now it was helpful to have the “relevant to now” addition. For instance, the 1992 LA Riot happened the year I was born (page 497). While so much can change in 22 years there is also so much that resides and does not fully resolve. Enrollment is still effected today and that perpetuates the race, gender, class, etc. roles that are still very much alive. So by adding chapter 13, not only do we see the change and progress over time but we see why Takaki is still writing and how more change is still necessary.

X. ”To confront the current problems of racism, Asian Americans know they must remember the past and break its silence” (page 484).

Week 2, Thursday. “Better Luck Tomorrow”

Dear Journal,

Today I found out my first kiss of the year killed my -technically- still boyfriend and my first kiss’ best friend tried to kill himself and still no one is asking how I’m doing! I mean, I’m really happy that people are paying attention to this group of guys that are so often over-looked, stereotyped, and used as punch-lines but come on! AGH. Okay okay, I guess I should calm down…

I should be happy for these guys to be represented the way that they are. They even purposely make fun of themselves to bring stereotypes to the forefront. With this technique elements in media and life that are problematic (but so common that they become overlooked and normalized) are blatantly put into the spotlight and challenge the “normalcy”. Even Ben says that it was nice to do something that wasn’t going on his college application. Which I think really illustrates how the pressures to be a “perfect over-achieving Asian” can stress someone into the “work hard, play hard” mentality. Of course, this isn’t an infallible excuse (for their drug-dealing, gun-carrying habits) but it is important to consider when critiquing the “model minority” myth. 

But just mentioning Ben makes me angry all over again!!! Even though I ended up having feelings for Ben by the time all of this heartbreaking drama happened, I still trusted him as my friend. I thought that because he understood these stereotypes and how overwhelming they can be that we would be together in solidarity, but no! I’m still misrepresented as a girl and treated solely like a prize to be won! He treated Steve with more same-level respect and he killed Steve! I just wish that the positive lens they use to project racial issues wasn’t so narrow that it left out the issues on gender. And others, for that matter! Those boys use slurs like r*tarded, p*ssy, and f*g as well as other discriminatory phrases. Sigh… I just really wish that for once both my race and my gender could be represented in a way that made others step back and think about the way I and other Asian American women are portrayed.

Better luck tomorrow, I guess.
Stephanie

PS. I don’t know who this Justin Lin guy is but thank you for letting show off our fabulous early-2000 wardrobe.

Week 2, Tuesday. “The Beautiful Country”

Hans Petter Moland’s The Beautiful Country has mostly ups for me with a few downs. However, despite the heartbreaking elements to the plot I felt very refreshed to see a movie that focused on the appropriate struggle. Instead of focusing on the life after war for lead character Binh’s father, Steve, the story follows Binh. I was pleased that we did not learn about Binh through the “white lens” story, which has been a common theme I have seen. (For example, in Netflix’s popular original series Orange is the New Black we are introduced and learn the lives of many women inside the prison, but we are only allowed that opportunity through lead white character, Piper Chapman. It’s a well developed series, but the problem still lies therein the fact that our vehicle into the stories of People of Color need to be white.)

I was very pleased with the cast of The Beautiful Country and the use of real life situations, even though they were very melancholy. The realistic drama of it was extremely raw. For example, as terrible as it was for Binh’s little brother [Tam] to die it was also a point that was touched in previous readings on the transportation of immigrants. There was a lot that was illuminated in terms of the discrimination inside Of Vietnam with mixed race children; the refugee camps; slave trade and human trafficking; the way that people find comfort in each other without it turning into a fairy tale that erases the real life struggle; the way falsities about America can be problematic (you’ll be rich!); and how class systems and racial prejudices can truly manifest in someone’s life and is prejudices are still relevant.

However, I was disappointed with two developments of big characters. First, I was disappointed with the transformation of Ling’s personality and how shallow they made her character seem once she was in New York. I think that, at best, it was showing the possibility of opportunities and how those can manifest, because her character was truly sincere and caring for most of the film. But even if that is the case, there are other ways to showcase that possibility which does not hold necessity on Binh and Ling remaining romantic. I also fond the view and commentary on her as a sex worker as stereotypical and problematic.
My second disappointment came from the final understanding of his father, but only because it is so rare to have real blame and guilt placed on a white character without also being given a reason for us [the audience] or them [those who were harmed in the film] not find an excuse to feel sorry for the “bad guy”. I do recognize that injuries are a very real part of war, and I was happy to see that it ended with Binh finding a place where he could be accepted, but what is it saying to have one of his few acceptances to be by his blind father? Similarly, previous readings have given examples of American GIs abandoning women without medical excuses and I thought this point would be one of importance to illustrate in such a film.  

Week 1, Fri. The Feminist Obsession.

I have many obsessions with things that I would never realize were obsessions until I was asked to consider it. For instance, I have chocolate in my kitchen at all times, a drawer full of fine tipped, colored markers in my desk, and working in a tattoo shop has been a dream in terms of being able to see all the different styles and ideas that people have permanently put into their skin. However, another obsessions I have that I would argue could be classified as more of a lifestyle at this point is a bit more complex.

It started with the social media site Tumblr. From here, I was introduced to a web of feisty, witty women who wanted change and were unashamed in their demand. Tumblr allowed me to connect with many different types of people with the same feminist enthusiasm and it gave me resources from pop culture to academic journals to art to important historic people. Very quickly, the women I followed (meaning I subscribed to their tumblr blog) led me to many different types of people who maintained personal and educational blogs about race, gender, sexuality, disability, sex positivity, class hierarchies, education/ the school systems, the prison system, and all-around super cool, inspiring people. And the influence of these blogs led me to crave this kind of subject material academically (which is how I am where I am today).

More-so than an obsession with Tumblr, I have an obsession with being a feminist. I have an obsession with challenging the ideas of the accepted “white feminism”, especially as a cis-gender, white woman. I have an obsession with feminism that includes more than just white women or just cis gender women or just my own struggle. I have an obsession with recently reclaimed femininity, which I rejected for so much of my young adult life. And while I go days without looking at tumblr or checking tumblr, I do not go a single day without writing, reading, expressing through art, or discussing this obsession.

So along with chocolate, art supplies, and tattoos there is more (like coffee and glitter and pictures of animals and sleeping in and making vegan salves!) and it has turned into a beautiful, beautiful thing.

Week 1, Thur. “47 Ronin”

Until the first day of class I was not aware of the film ["47 Ronin"] we were going to see, nor was I aware of the traditional story it is based off of. My only understanding of the movie has been through the brief synopsis of the traditional story, that Keanu Reeves is in it, and (as a direct quote from my roommate:) “It’s like a thrilling action movie. You’re going to see that?”

Immediately, there were elements I suspected to be altered. The first and most obvious was the setting in which this story was meant to be told and the use of a white actor as the lead focus (and hero) of the plot. In the opening of the film, a deep, narrating voice lays out the context of the plot and setting, stating that this was a time in Japan when no foreigners were allowed to enter. Later in the film, Keanu Reeves’ character is told of how he came to be human and “demon” (his father was a Dutch trader and his mother Japanese) but this still is an unnecessary addition to a story that already has a rich back-story, history, and plot! This element (of white-washing in casting) was disappointing. To me, it is not a question or judgement of Keanu Reeves’ acting, but instead another example of appropriation and the misrepresentation of People of Color. By casting a white actor for a role that created just to hire a white actor is majorly problematic, yet such a common occurrence it’s also become majorly over-looked.

I would like to learn and read more about the original, traditional story to further analyze the film we watched today. Perhaps it will give me a better insight as to why those who remade the film chose to do it in such a way. I am curious to find out if the witch portrayed in the film was also apart of the original (or if those who created the film actually stereotyped this character not only as a “dragon lady” but as an actual evil, seductress who turns into a dragon…) and where the mythical/magical creatures came into play. How true to the original story was the film? Or, is this another unfortunate example of profiting off of another culture, only maintaining certain Asian elements just to “sell it” as Asian?