As soon as we saw this Autostraddle’s article about Roopa Rao’s web series “The ‘Other’ Love Story” we knew we had to binge watch it and devote a newsletter to it immediately. The twelve short episodes follow the lives of two teenage college students who meet and fall in love in late 1990s Bangalore.
Guest Contributor: Mark Tseng Putterman (@tsengputterman)
Asian American Twitter has been abuzz this week with news that Tilda Swinton singled out Margaret Cho to explain to her the backlash surrounding her whitewashed casting as “The Ancient One” in Dr. Strange. On a recent episode of Bobby Lee’s TigerBelly podcast, Cho described the odd email exchange with Swinton, who she had never met, explaining that it left her feeling like a “house Asian, like I’m her servant.”
While many commentators have rightfully jumped on Swinton’s behavior as another example of white people expecting people (especially women) of color to perform uncompensated intellectual and emotional labor, few have discussed how Cho’s coopting of the term “house Asian” represents a parallel trend of non-Black Asian Americans repurposing Black movements, analyses, and terminology for our own purposes.
By Guest Contributor: Lakshmi Gandhi (@LakshmiGandhi)
After seeing Hollywood green-light projects that actively erase Asian Americans from the silver screen (think Emma Stone playing Allison Ng or a whitewashed Doctor Strange) it’s understandable if pop culture watchers reflectively flinch when they hear news of upcoming mainstream film projects featuring characters of color.
That’s also why I did a little squeal of glee in the middle of Starbucks on Friday when I saw the news that Mr. Robot’s Rami Malek was just cast as Freddie Mercury in the upcoming Queen biopic, which is titled Bohemian Rhapsody. Malek’s casting is also hopefully a sign that this movie (which was first announced way back in 2007) is finally on the right track.
Are you an emerging AAPI filmmaker? If so, then this post is for you!
HBO announced today Asian Pacific American Visionaries, an exciting new opportunity for young AAPI filmmakers. APA Visionaries is a short film contest specifically geared towards emerging AAPI directors who use the medium of short film (either narrative or documentary) to explore the AAPI experience.
Filmmakers are invited to submit their shorts prior to the November 7th deadline.
A panel of film-making experts will select three winners from the pool of submitted films. Winning films will air at the Los Angeles Asian Pacific Film Festival in April 2017, and the film will be licensed to be distributed through HBO on-air or streaming outlets during APA Heritage Month in May 2017.
An additional cash prize will be awarded to each of the winning filmmakers, and HBO will also provide travel money so that filmmakers can attend their film’s premiere at LAAPFF.
I can’t even right now.
The basic concept of the upcoming The Great Wall seems like a Hollywood studio wet dream: the Great Wall of China is reimagined as the frontlines for a fantasy thriller that pits mankind against an army of invading mythical monsters. If one were going down a checklist for making a big-budget fantasy movie guaranteed to make money, this would be it. Fast-paced action scenes? Check. Breath-taking CGI? Check. An opportunity to film in 3D? Check. A stupid movie plot? Check. People armed with a bows and arrows? Check. Check. Check.
In an alternate universe, The Great Wall might have been kind of cool. I’ve long waited for Hollywood to start earnestly exploring movie concepts outside of the Western cultural, historical, and sociopolitical framework. Non-Western and non-White history is flush with great stories just waiting to be told. The Great Wall could have been such an opportunity. In so doing, it could have recentered the camera’s gaze on non-White people, offered a tale of non-White humanity, and told a silly fantasy story about a pretty interesting era of ancient Chinese history.
Indeed, I’m a fan of Chinese blockbuster films, perhaps because films that emerge out of Asian movie houses are refreshingly unbound by American cinema’s racial stereotypes. As a consequence, Chinese cinema accomplishes naturally that which American Hollywood still struggles to do: in Chinese cinema, (East) Asian characters occupy the full range of the human condition. In American cinema, we are always the oddball, the outcast, or the supporting character. In Asian cinema, we are treated by the camera as if we are fully, messily, complicatedly human.