Asian American Women
What is certain is that, while ultimately upholding the value of family and of traditional culture, ‘The Curse of Quon Gwon’ gives vivid expression to the frustrations of women within those rigid norms, doing so with a cinematic language of the female gaze that centers female perspectives.
The lineup included The Tiger Hunter, (directed by Lena Khan)… Light (directed by Lenora Lee and Tatsu Aoki), and Finding Kukan (directed by Robin Lung). … Depictions of stories that are absent from an experience that is generally thought to be collective is definitely the point of film festivals like the Asian American Showcase. The film offerings this year illuminated the immigrant experience as an American one. At the same time, the breadth of the experiences represented, while hardly a cohesive or even complete picture, offered nuanced views of stories never heard in textbook discussions…
Elektra is in some ways, the most problematic character. … Yet there is something strangely compelling about Elektra, not as an extension of the show’s tired prejudices against Asian people, but as a woman who despite her questionable origins transcends the limiting Strong Female Character trope. …Her presence in and of itself disrupts the masculine hegemony of violence in the show.
It was Viola Davis who commented about the lack of substantial roles as love interests for women of color on the big screen. … We see that familiar and very white narrative unfold between an interracial pair in ‘Already Tomorrow in Hong Kong,’ except this time it’s infused with cultural nuances that, while they don’t reinvent the wheel, offer a fresh perspective.
I decided to be a filmmaker because I believe that women of color should proclaim ownership over the creation and dissemination of our images and stories. When Ava DuVernay asked her Twitter followers to name films that featured black, brown, Native, or Asian women leads, only a handful of films on that list featured an Asian American actress with an Asian American woman director at the helm. (And the drop-off between first and second efforts is alarming; Alice Wu, the writer/director of 2004’s ‘Saving Face,’ has never made another feature.)
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.