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are a ubiquitous presence in the media and entertainment landscape, but motion pictures were very much still a speculative technology and nascent industry at the turn of the 20th century.
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It’s hard to imagine today, when film, television, YouTube, TikTok, etc. Many actors and screenwriters who arrived in those days later recalled with a laugh the signs they saw posted at boarding houses: “No Jews, actors, or dogs allowed.” Residents were disturbed and outraged over those “damn flicker outfits” and wanted nothing to do with the movie-making weirdos who showed up on trolleys and in parks wearing ridiculous costumes with greasepaint smeared on their faces. The upright Christians and Midwestern folk who thought they’d discovered their own personal Eden in Southern California in the late 1800s were thrown into a tizzy when studios Back East started sending packs of actors, directors, and cameramen to Los Angeles circa 1910. And the reason that was even possible is because the people who built the film industry in Los Angeles, as I write in my book, were a band of outsiders. Whatever you may have heard, we were there from the very beginning. Interestingly, one of the things I have discovered in the course of researching AMW’s life is that Asians/Asian Americans were an integral part of early Hollywood. Anna May Wong’s career, which began in 1919 when she was fourteen, proves that this is simply not true. Many have doubted, even today, whether Asians/Asian Americans are charismatic enough, creative enough, human enough to be cast in leading roles or to carry a story that does not revolve around a majority white cast. Of course, we shouldn’t have to prove ourselves, and the fact that we do says a lot about how white supremacy still dominates America in the most unconscious yet persistent ways. If one day we decide to cash in our stockpile of chips, will Hollywood stop making Asians jump through endless hoops to make it on screen and into writing rooms? Little by little, chip by chip, we are amassing proof not only that there is a place for Asians in Hollywood, but also that movies can be spectacularly successful when Asians act, write, and direct them.Įverything Everywhere All at Once, a low-budget indie production brought to life by the visionary team Daniel Kwan and Daniel Scheinert (aka the Daniels), is the latest of the bunch and it just crossed the $20 million mark in revenue.
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Since the release of Crazy Rich Asians in 2018, every new release that centers around Asian or Asian American stories has felt like winning another chip at the craps table. She’s alreasy had to deal with racism in Dominican media when she was starting out.Sessue Hayakawa and Anna May Wong gaze at a film reel in a Paramount publicity still for Daughter of the Dragon, 1931Īnother year, another badass Asian film becomes the unexpected darling of arthouse cinemas across the country and takes the film world by surprise. He is currently being dragged to hell in his IG comments. He also calls her Nutella Queen.Īmara tells him to fuck himself and dips. When Amara mentions that she’s Afro-Latina, Young Hollywood is confused and asks her if she considers herself Afro-Latina because she has an Afro.Īfter realizing that Amara is visibly upset over the racist shit he’s saying, he raises his fist and says that she is being intense about the whole “Afro thing”. (“More elegant” and “palatable” to the masses). Shit gets real racist as soon as she walks in.įirst he tells Amara that if she wants to make it big, she has to be a little more Beyonce and a little less Macy Gray. One scene that has everyone talking is when Afro-Dominican artist Amara La Negra meets with Puerto Rican trap producer Young Hollywood to explore a working relationship. Love & Hip Hop’s new season in Miami premiered last night, and as always, the drama didn’t wait.