Summary
The history of Asian American feature films in the United States is generally considered to begin in 1982 with Wayne Wang's Chan is Missing, in the same way that the history of American Latino film is usually dated from Luis Valdez's 1981 Zoot Suit.1 Since that time a number of dedicated directors and screenwriters have added features to the list, some via Hollywood and others through an independent route. Still, it remains difficult for filmmakers in either group to find funding for their feature projects.
On the academic side, there has been a parallel growth in literature analyzing these films. However, thus far most analysts confine themselves to looking at one or more films within each ethnic grouping, rather than comparing works across ethnic lines. This article is intended as a preliminary exploration in that direction.2
Given that these two ethnic groups have significant commonalities as well as important divergences, we should expect such analysis to turn up both similarities and differences in the two film traditions. Both groups, for example, occupy the status of linguistic minorities in the United States. At the same time, their histories and the manner in which they became incorporated into this country vary considerably.
While generalizations are always risky, I would like to suggest that minority filmmakers have historically been engaged in six broad tasks as cultural workers:
1. Moving ethnic minorities to center stage. While there is no shortage of minority representation in mainstream American films, there is no question that non-whites are generally marginalized in such films. The role of protagonist is largely reserved for "White," or European-American actors. Minority characters tend to occupy positions as sidekicks, allies, local color, villains, victims, and "others" in general. Minority filmmakers have therefore made the effort to center their stories around members of their own ethnic group. This is as true of Latino and Asian-American filmmakers as of their African-American and Native-American counterparts.
2. Countering stereotypes. One of the central complaints made about mainstream American films is the persistent stereotyping of non-Whites. Minority filmmakers have employed an array of strategies for countering this historical pattern. One technique employed by such filmmakers as Robert Townsend, Hollywood Shuffle3 and "Cheech" Marin, Born in East L.A.4 is to spoof these stereotypes through parody and exaggeration. More commonly, minority filmmakers combat stereotypes by revealing the diversity that exists within their particular communities. By showing a range of characters along dimensions of class, generation, sexual orientation, and specific cultural practices, these filmmakers seek to negate the notion that "they're all alike."
3. Critiquing racism and ethnocentrism. Many though by no means all features by minority filmmakers explicitly point out and critique racist and ethnocentric practices in society at large on both individual and institutional levels. From Luis Valdez's Zoot Suit, to Spike Lee's Do the Right Thing, to Peter Wang's and Shirley Sun's A Great Wall, these filmmakers are concerned with demonstrating the continuing effects of both historical and contemporary discrimination on ethnic minority communities.
4. Reclaiming and reinterpreting history. While the television series Roots is perhaps the best known example of this, minority filmmakers from all ethnic groups are aware that the histories of their peoples have been forgotten, neglected, or distorted in American schools and in the media. Many minority features are therefore concerned with rediscovering or reinterpreting these histories from the perspectives of their respective communities.
5. Exploring non-mainstream cultures. Sometimes minority filmmakers are concerned with exploring a particular ethnic culture not specifically for the purpose of countering stereotypes, but rather to elucidate the richness of that tradition, and lend clarity to the sorts of issues that people in these communities deal with on a day to day basis. One gets a sense of this endeavor by examining such films as Valdez's La Bamba, Wayne Wang's Dim Sum, and Spike Lee's She's Gotta Have It.
6. Contending with issues of assimilation. One of the thorniest sets of issues facing Latino and Asian-American cultural workers is that having to do with assimilation, acculturation, cultural retention, and cultural self determination. Some filmmakers choose to champion a position explicitly encouraging cultural resistance, while others opt for a more ambiguous position. Often a filmmaker will present numerous characters from different generations in order to illustrate the types of intra-family and intra-community tensions engendered by the process of assimilation. This topic is explored in greater depth below, in connection with the analysis of specific films.
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