The Social Network and the China Doll/Dragon Lady Syndrome by Stephanie Charamnac
Part Dragon Lady, part China Doll, Christy is 100 percent stereotypical. It’s hard to believe that such a distorted representation, steeped in age-old myths, only dates back to 2010. Even more disheartening is the fact that most film critics did not raise an eyebrow at this deeply flawed portrayal.
Fresh Off the Boat’s Jessica Huang Is Loud, Abrasive, Intense, and Exactly What We Need by Deborah Pless
I don’t want to jump the gun here, since the show has only been on now for a month and a half, but Jessica Huang might just be my new favorite female character. Why? Because she is hilarious, brilliant, incredibly sarcastic, and because she refuses to let anyone get away with anything. Basically, because I see myself in her and I love it. What can I say? I’m naturally egotistical.
Kuch Kuch Hota Hai: Bollywood Hurts Men, Too by Brigit McCone
By supplying excuses all around, Kuch Kuch Hota Hai upholds the status quo while venting its resulting frustrations; the performances lovingly celebrate female feistiness, while the plot constantly punishes and suppresses it in favor of traditional ideals of self-sacrifice and emotional martyrdom. Cue predictable feminist outrage. You already know everything I would write. So instead, I’d like to focus on another aspect of the film: its utter contempt for male agency. Yes, male.
Kalinda Sharma Is My Favorite Queer Uncanny Star by Rosie Kar
Though based in downtown Chicago, there is a paucity of people of color in the show, and those who do make appearances seem to be present for only short amounts of time, save for one: Kalinda Sharma. She is an independent private investigator for the firm Lockhart and Gardner, and is a supporting character in the series’ narrative. Played by actress Archie Panjabi, the role of Kalinda Sharma is one that is groundbreaking in terms of thinking about queer South Asian bodies onscreen in the American imaginary.
The World Before Her: Between Liberalization and Fundamentalism–India’s Two Faces by Asma Sayed
Pahuja sees the film as going beyond the issues of women’s rights; according to her, the film is about India, and what’s happening there, and the fear about the future as the culture of the country goes through extreme changes. She adds that, through the film, she would like to showcase the kind of “hatred being taught in the camps in the guise of patriotism.”
Ouran High School Host Club: Haruhi, Heteronormativity, and the Gender Binary by Jackson Adler
At its heart, Ouran is about gender and, for better or worse, how it is perceived and performed. Though often praised and adored for its challenges to heteronormativity and gender roles through its range of characters, especially its protagonist, it ends up reinforcing heteronormativity and the gender binary to a large extent.
Mother India: Woman, Pillar of the Nation by AP
Mother India treats Radha’s abnegating nature as a positive. Look how nobly she suffers for her husband and sons, the movie seems to say. In real life, such glorification of women’s suffering enables an exploitative system of economic growth on the backs of underpaid, overworked women. They get nothing except lip service, sometimes not even that.
Saving Face: About Chinese American Women, Not Based on a Book By Amy Tan by Ren Jender
Like Chutney Popcorn, Saving Face is one of the few films focused on queer people of color and their families. Having those two elements together might seem like a modest achievement, but Pariah is one of the only recent films that also includes both. Mainstream movie makers apparently think queer people of color don’t have families, but instead are deposited as eggs in a sandy, warm spot by a pond until they hatch and make their way, independently, into the world.
Not Everybody Is Kung Fu Fighting by Katie Li
Western audiences aren’t interested in the talking points though; they just want to fast-forward to the action. They glorify the violence and exotify Chinese culture, while completely missing out the subtle, important messages of martial arts training: values like discipline, hard work, and how your training and skills aren’t used to harm others, but to better yourself.
English-Vinglish: Straddling Patriarchal and Linguistic Hegemony by Asma Sayed
Moving away from the Bollywood style masala and dancing-around-the-trees numbers, this film focuses on the real-life issue of the position of women in the domestic and social spheres in India.
Why Fresh Off the Boat Is Kind of a Big Deal by Katy Koop
So, in a world where people think you don’t have to cast Asians to play Asian parts, Fresh Off the Boat gives hope that maybe Asian kids or mixed kids like me will actually see a sitcom and see themselves a little. And maybe if it’s a success, more shows and better casting will follow.
The Kims Next Door: Korean Identity on Gilmore Girls by Elizabeth Kiy
While Rory struggled with the myriad of concerns afforded to a main character: her love life, her future, her friendships and family, Lane’s biggest conflict was always her overbearing, uber-religious mother and to a lesser degree, her own Korean heritage. Being Korean is never posed as a positive thing for Lane, it is only a marker of difference.