“Asian Culture” and Asian American Identities in the Television and Film Industries of the United States
Bibliographic Data
| ID | 19149272 |
|---|---|
| Authors | Hemant Shah (0000-0002-6423-2383, corresponding author) |
| Year | 2003 |
| Volume | 3 |
| Issue | 3 |
| Pages | 1-10 |
| Publication date | 2003-08-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | SIMILE: Studies In Media & Information Literacy Education (JOURNAL) |
| Journal identifiers | ISSN: 1496-6603 • E-ISSN: 1496-6603 |
| Publisher | University of Toronto Press (PUBLISHER • CA) |
| DOI | 10.3138/sim.3.3.002 |
| OpenAlex | W1964873468 |
| Language | EN |
| Citations received | 10 |
“Asian” culture has long been fodder for films and television shows produced in the United States. Four main stereotypes of Asians and Asian Americans emerged from the imagination of primarily white cultural producers in Hollywood: “Yellow Peril,” “Dragon Lady,” “Charlie Chan,” and “Lotus Blossom.” These images can be understood as “controlling images” in the sense that negative stereotypes provide justifications for social control and positive stereotypes provide normative models for Asian thought and behavior. Resistance to these images became substantial in the 1960s when Asian American filmmakers developed “triangular cinema,” a strategy for Asian American community building, political mobilization, and the creation of an Asian American film aesthetic. The films of triangular cinema are “liberating images” that stake out a position for independence and autonomy for Asian American communities
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| Unique citing works | 10 |
|---|---|
| Citations per year | 0.59 |
| Citation span | 2009 - 2018 (10) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 5 |