Live Free of Die Hard October 21, 2007
Posted by kmiddleton in asian america, pop culture.2 comments
I just spent a bizarrely balmy weekend in Vermont with my visiting parents. Despite the constant, nagging reminder that global warming is upon us (hello, 78 degrees in October!), it was a forced–and necessary–respite from work. Nothing was more indicative of that than surfing the On-Demand features in the Hilton at eleven p.m. As much as I want to see Danny Boyle’s Sunshine, since I missed it on its first run in the fall, I just couldn’t make myself do it. Instead, Herr Meyer and I settled on Live Free or Die Hard. It was late, I know I wasn’t going to think too hard, Bruce Willis activates some sort of sick Moonlighting nostalgia in me. It seemed like a fine idea at the time. How bad could it be?
Hah.
It’s not just that I think that action genre is dead. This film had some pretty original takes on the usual handful of stunts (including, but not limited to driving a car into a helicopter and crashing half of the interstate flyovers in the D.C. metro area). the interaction between the battered John McClane and the hacker kid was funny in spots (although, since Justin Long is playing the hacker, I couldn’t help but expect him to say “but I’m a Mac!” throughout the movie). All well and good, and slightly better than par for the course.
So what’s the problem? Early on, they introduce Maggie Q as the archetypical Asian villainness. I’ll spare you my lecture on the image of the dragon lady here, because in many ways the archetype has moved so far beyond that image that it’s working as simulacrum at this point. I should have turned the film off the moment they introduced her. Because I know what’s coming; she’s going to die in some brutal way. Involving violence. And as audience members, we’re going to be set up to cheer about it.
Sure enough, an hour in, Maggie Q and Bruce Willis are beating the living crap out of each other. He throws her into a set of shelves at one point, which then collapse on her. I was hoping that that would be the end of it, but instead, we’re treated to a 10 minute scene in which, after Q throws Willis out the window, he finds an SUV and drives it into her and halfway down an elevator shaft. They struggle, blah blah. In the end, she falls down the shaft and the SUV lands on top of her, igniting a giant fireball that immolates her and the car. Cue cheering.
I knew it was coming. And I should have expected that it would continue, but I only really braced for the violence. I hadn’t really prepared for the ways that McClane would use her death to taunt her villain boyfriend. “She’s at the bottom of an elevator shaft with an SUV shoved up her ass,” he tells him. And later, he calls her an “Asian hooker,” something that will be “hard to replace.” [These are, for the record, paraphrases.] Is it necessary to note that while Q strolled around the movie in tight clothing and stilettos, she managed to avoid either nudity or sex scenes? So from whence comes the talk about her and sex?
Here’s the thing: I deeply, deeply resent the necessity of pairing violence against Asian women with sexual connotations. And it keeps showing up lately. X-Men II, Ransom, etc. What’s up, Hollywood? It’s not enough to just go for violence without the sex? The competition with internet culture has driven you to imitate the worst of the web?
If I’m in the mood for a mindless action movie, the last thing I want to worry about is having to watch a sister get whacked and then called a whore. There’s a reason a girl wants mindless entertainment sometimes. And it can’t be mindless if I have to expend energy assessing racist ideology, dammit.
Someone could make a bunch of money screening films and issuing them a rating based on their level of offensiveness to women and people of color. Get right on that, will you?
Convergence: VT and Native Speaker April 19, 2007
Posted by kmiddleton in asian america, reading, research.add a comment
Like virtually everyone in the nation, I find myself falling onto the cliche of “shock and horror” at the events at Virginia Tech this week. It’s a mix of disbelief; sympathy for the survivors, the vicitims and their families; and a serious set of questions about what it means to be a professor—particularly an English professor—at this moment in time. As more and more information comes out about Cho Seung-Hui, his writing, his behavior, and the faculty members that he worked with, it’s almost impossible not to ask: what would I have done? What should I be doing as a professor who sees student writing every day? How do we know when to be on our guard and when a student is “blowing off steam”? Moreover, what does it mean to be a Korean American professor right now?
I’ve been mulling that last question in particular since I’m in the middle of teaching Chang-Rae Lee’s Native Speaker, a novel that details the complex inner life of a first-generation Korean American man. Henry Park, the protagonist, asks himself the important question about when, and under what circumstances, an immigrant is allowed to become an American. This seems the question that the media is struggling with now as well, as it considers how to approach understanding the incomprehensible: a young man massacring his fellow students and teachers. Much has been made of Cho’s Korean-ness; he was, after all, a resident of the U.S. under the auspices of a green card. As this short piece by NPR’s Robert Seigel points out, however, Cho spent more of his life in America than he did in South Korea. Despite this, many Asian American groups are bracing for backlash, and the entire country of South Korea has issued an apology for his actions. [The truly excellent, and in other circumstances riotously funny Angry Asian Man, has continuing, thoughtful commentary on media coverage of this event.]
Is Cho Korean? Is he American? Is he both? What does it mean to be both? What are the particular privileges that come with being both, and what kind of toll does it take on you? What is expected of you, and how do you begin to imagine your place in society? These are the questions that readers of Native Speaker struggle with, and the convergence of reading that novel and the tragedy at VT begins to indicate to me the ways in which literature really can help us to see the world in ways that we wouldn’t from our own perspectives. It’s not every day that I can argue that the study of literature is relevant, as much as I’d like to. Henry Park works as a spy—one who is constantly called upon to infiltrate groups, to learn and to observe and to fit in. It’s a powerful metaphor for societal assimilation, but Lee takes it one step further: Henry can’t separate his behaviors at work from those at home. He treats his wife like his other subjects. He discerns her desires, he provides for them, and he observes her and gathers information. It’s a troubling psychological model: one in which Henry is never un-self-conscious, never authentically himself, always waiting for someone to say he doesn’t really belong, to blow his cover.
Recently, the National Instititute of Mental Health conducted the first national study of the rates of mental illness and treatment for Asian Americans. The study, conducted in 2002-2003, is still in the preliminary stages of analyzing the data. One of the first conclusions, however, is that ” NLAAS data shows that, as a group, Asian Amerians have lower rates of mental illness than whites but seek treatment less often.” The article linked above goes on to cite economic status, generation, culture, racial prejudice, and social status of some of the significant factors that affect mental health. Are these all factors that play into understanding the character of Henry Park? Absolutely. Are they, by extension, factors that can help us understand the actions of Seung-Hui Cho?
Here, I’m brought up short. I can’t bring myself to try to understand the psyche of a violent and disturbed young man, about whose premeditation of violence we hear more and more with each passing hour. As someone who studies literature, I want to believe that they give us insight into the world around us. But is Henry Park really a useful model for “understanding” Cho? As a professor, I want to believe that access to information can make us better citizens. Could wider knowledge of Asian American resistance to mental health treatment have shifted the course of events? As a Korean American, I want to believe that the unreedemable actions of Seung-Hui Cho will not have a negative impact on the ways that the rest of the nation perceives of an ethnic group to which he belonged. Will his individual actions have ramifications for a larger population?
As someone who occupies all of these positions, I’m left with little but questions.
Represent! Race and Media February 24, 2007
Posted by kmiddleton in asian america, new media, research.add a comment
Today, I found myself revisiting some of the issues I worked on in my dissertation, as I came across to very curious YouTube videos. In a nutshell, my diss looked at the popularization of Asian-themed aesthetics (in food, in fashion, in media) and the material effects of that popularization on Asian Americans. I argued that the contemporary desire for “true” representations of Asian otherness (e.g., Memoirs of a Geisha) eclipsed the evidence of American qualities in Asian Americans. [Any Asian American can tell you a story about being asked "where are you really from" or how he/she might say something in his/her "native language" etc.]. Finally, I looked at contemporary works by Asian American authors, filmmakers, performance artists and the like who took up this prioritization of their supposed “otherness” and used aesthetic means to insist upon their place within the nation.
Whew.
The point of this background information is that a few days ago, my friend Neil sent me a clip to a YouTube video of Margaret Cho. Surfing the blogosphere this morning, I came across a recent George Takei faux-PSA, courtesy of belledame at fetch me my axe. Two prominent Asian Americans in their own videos come across my screen in the same week?! Hot diggety! Even more surprising, however, was the thematic and structural similarity in the two videos. Takei filmed the “PSA” in response to the now-infamous Tim Hardaway comments about hating gay people. Cho’s rap video is, on the surface, a paean to her vagina. Wait, what do these two have in common?!!