Screaming Monkeys

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A Review Essay of: James, David (1999). Tradition and the Movies: The Asian American Avant-Garde in Los Angeles. Source, 2 (2), 157-180. Ongiri, Amy Abugo (2002). "He wanted to be just like Bruce Lee": African Americans, Kung Fu Theater and Cultural Exchange at the Margins. Journal of Asian American Studies, 5 (1), 31-40 (Article) Bibliography: Screaming Monkeys: Critiques of Asian American Images. (2003).Galang, M. Evelina (Ed.). St. Paul, MN: Coffee House Press. This essay compares and reviews the methods of the two above articles. They cover the African American and Asian American struggle from different angles. Both use effective evidence, scholarship, and examples. The conclusions they reach are far from similar, but the structure…show more content…
Asian Americans are viewed as the "model minority (Ongiri, 2002)." Meanwhile African Americans are demonized as being animalistic (Ongiri, 2002). Asian Americans as cowardly eunuchs, and African Americans as hypersexual one-man armies, like Shaft and The Mack (Ongiri, 2002). Ongiri theorizes that black rappers and movie stars began adopting kimonos and Zen gardens in order to balance out this same destructive myth. Include a few objects associated with peace and intelligence, and it helps dissolve the myth. Asian Americans shun the stereotype cast upon them as well. Asian American David Mura writes in Screaming Monkeys: Critiques of Asian American Images: "As a boy I watched Mickey Rooney as the Japanese buffoon neighbor in Breakfast at Tiffany's and knew I never wanted to be associated with this snarling, bucktoothed, thick-glassed create who shouted at Audrey Hepburn (2003)." Media has a huge influence over human perceptions, since identity is so tied up in every part of a person, even their race (Galang, 2003) as well as their "sexual, familial, linguistic, geographical, religious, political, and so on (James,…show more content…
Asian American culture is being hurt by Hollywood as well, since they are continually the sidekick, or the damsel in distress in movies (Galang, 2003). Not to mention that hardly ever is a distinction made in films between Chinese Americans, Japanese Americans, Korean Americans, Thai Americans, Vietnamese Americans, and so on (James, 1999). The identity of each of those cultures is being threatened by such generalizations on broadcast news, films, and the Internet. Even though his thesis is aimed specifically at the Asian American Avant-Garde director target that narrows his focus too much, his strong research has no doubt broadened Asian American studies as a

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