1. hOLLYWOOD AND sTEREOTYPES ARTICLES- 1.C.R. Berg: “Stereotypes in Film” 2.Y. Kawai: “Stereotyping Asian Americans” 3.G. Marchetti: “Romancing the Yellow Peril: Introduction 4.H. King: “Lost in Translation.”

2. Outlines two strategies for stereotyping 1. Individual or “the picture in our heads”- all our experiences in our daily lives have contributed to our own perceptions of race and stereotypes... 2. Mediated- “exists on the screen as a public commodity”; what Hollywood and the media project images of race to be; it has a global reach/influence. Mediated stereotypes have their limits: multiple negative stereotypes are projected for any given race... Ex. “coons” “mammies” “el bandito” “latin lover” etc The stereotypes imposed on a certain racial group can be very different.

3. Berg article continued.. “El Bandito” With every image there is two parts: the Denotative and the Connotative. Denotative- “signifier” The dark skinned male, moustache, sombrero, bullet belt.. Connotative- “signified” The meaning behind the given image: Hollywood constructs “el Bandito” as: –Racial: an “other” that is not “from” North America (National) –Narrative: a “threat” or a “villain” as portrayed in previous films. –Behavioural: acts “sneaky” “violent” or a “criminal” –Psychological/ Moral: is “unstable” or “a sadistic alcoholic” with no concept of right or wrong, “far away from mainstream morality” –Ideological: threatens the traditional and dominant American ideologies

4. Berg continued.. “Stereotypical Shift”: the image of the “bandito” changes over time... From the traditional image to one of a “young punk” or “mexican gangster” the connotative meaning behind the image remains the same.

5. http://ca.youtube.com/watch?v=T9ckjELRL6Y

6. Framing: how the characters are positioned within the shot “Mise-en scene”: the staging of the scene Camera Movement/Angles: how the camera is positioned and how it moves to frame a story- issues of power, dominance, less importance can be conveyed by angling the camera. Music/Sound: the use of melodies vs popular songs vs electronic compilations and how they contribute to the scene dynamics. Aesthetics: costume designing to mimic narrative, makeup to enhance stereotypical images Art direction/set: the props around the characters and where they are positioned.  How does this relate to the “Falling Down” clip??

7. Demonstrates how Hollywood portrays in film the sexual relations between White and Asian characters due to the influence of the “Yellow Peril”. Yellow Peril: “combines racist terror of alien cultures, sexual anxieties, and the belief that the West will be overpowered and enveloped by the irresistible dark occult forces of the East.” Rooted in Medieval fears of Genghis Khan and Mongolian invasions of Europe. This form of “romantic relations” is demonstrated in the sexual danger of contact between Whites and Asians in film ex. rape of the white woman by the Asian man; the White man and the Asian woman’s union as being rationalized by certain circumstances. Taboos/ “hush hush” experiences etc... Q- Can anyone think of an example of these “romantic relations” between races in any recent film they have seen?

8. The “positive” and “negative” stereotype of Asian Americans “Model Minority”- when Asians are depicted as the “superior minority”- Asians come to America for a “better life” - racial triangulation Extreme negative- The “yellow peril”- Asians as a threat to Western society Asians are represented in film in these two ways: both ways represent them as subservient to the dominant Western cultures.

9. http://ca.youtube.com/watch?v=HRGBV5eSbyQ &feature=related

10. Directed/ produced/written by Sofia Coppola (2003) Filmed in Japan, jointly produced by Japanese production company “Tohokushinsha.” Centered on the relationship between two Americans visiting Japan; one a recent Yale grad visiting with her husband for his work; one a B list actor there to film whiskey commercials. Criticized for being “stereotypical and discriminatory” The film treads the fine line between exploring the comedy of cultural difference and portraying clichéd cultural stereotyping. Does Coppola sufficiently clarify what she is attempting to achieve with this film??

11. Film Viewing 1 hour 42 mins

12. Debate.. 1.Split the room in half: -One side = discuss the idea that Coppola is showcasing cultural differences (the film does not claim to represent Tokyo authentically, objectively or thoroughly... Rather it is based on Western perceptions relating to the feeling of alienation in a foreign country) -One side = discuss the idea that Coppola is portraying clichéd cultural stereotypes (the film is showing Western dominance and Asian subservience) Does it make the mistake of falling into discriminatory practices based on Western cultural assumptions?

13. Discussion notes and summary Sophia Coppola sides on exploring the humor behind cultural differences: The fact that the movie is situated in Japan seems like an afterthought. The story of the two western characters is the main focus Could be set anywhere foreign There is a diverse portrayal of Japanese characters. Business professionals, young punk surfers, waiters, youth, elderly The film depicts the alienation from western society as well (the characters do not related to the other western characters either) Some “stereotypes” are real depictions of Japanese characters (such as the TV show host) Sophia Coppola depicts racist cultural stereotypes: Most of the Japanese characters are Humorous. (Director, photographer, prostitute, TV show host) He seemed to mock the director and photographer during the shoots Often sides on Western dominance Photographer/director did not have dominance over the actor (he has the final say in what happens) Japanese business people are always seen behind Mr. Harris (following him around) Lack of voice: there are no subtitles Doesn’t show all experiences that can be had (ex. The elevator; all of the people are shorter than him. Why did she choose this?) Constant depiction of Japanese with accents (not able to say “R”)

14. Summary continued.. Debate Notes Other Notes This movie depicts Tokyo through the “Tourist Gaze” This is a White story Powerful western narrative Idea of Orientalism – the signifiers can all be different but we essentially get the same signified out of them. Questions to think about: Why does Coppola choose to do what she does? Why does she not use subtitles? Why does she not give the Japanese characters a “voice”? Further Questions Weather or not you see this film as depicting stereotypes of Japanese citizens, how do you think, in the context of Hollywood, it contributes to the stereotyping and subordination of Asians? Could Coppola have made different choices (ex. The use of subtitles) to help progress the voice of Asians in film? Would this have changed the meaning of her film or the plot? Significant Terse Conclusions C.R. Berg “Stereotypes in Film” The author examines how stereotypes in film differ from those ‘mental stereotypes’ held by individuals. Analyzing a scene from Falling Down, he illustrates how the ‘Bandito’ stereotype is carefully crafted and yet appears natural due to its repeated and historical deployment: it has become part of the standard aesthetics and practices of Hollywood film. He then adapts a psychological theory of ‘triangulation’ to show how viewers are encouraged to align themselves with a (usually White Male) protagonist in opposition to minor characters (Others) in the story. Kawai “Stereotyping Asian Americans” Kawai explores two dominant stereotypes about Asian Americans: the yellow peril and the model minority and finds them to be linked. Asian success in comparison to other ethnic minorities is praised, but their success in comparison to white people, coupled with their status as perpetually foreign from American society, is considered to be a threat, such that even when Asians are portrayed in a positive way, the yellow peril stereotype is still in effect. Marchetti “Romance and the Yellow Peril” This article supports the notion of Berg, by supporting that the yellow peril stereotype sells as a narrative, in Hollywood. Some good examples were provided by Marchetti – Asian rapists, and bitter Asian women when love is not returned by a white male. They are a “threat.” Marchetti ties in the ideas of the yellow peril with Edward Said’s Orientalism. Hollywood narratives are part of Orientalism since it reinforces Western power and domination.

15. Summary continued.. Terse con’t: H. King, Lost In Translation King analyzes Lost in Translation and discusses how Coppola teeters between shedding light on cultural difference and trite cultural stereotyping. Drawing on Said’s work, King explores this matter and ultimately concludes that authenticity can perhaps never be fully removed from the number of signifiers that are attached to it and that this subject should be addressed delicately and with a willingness to see both sides.