Model Minority Myth in Filmmaking
Okada’s discussion reveals the challenges facing Asians Americans and African Americans in Filmmaking. The discussion is focused on the power of positive image in promoting fair representation in films and television programs. Before the civil rights era, the model minority myths were rampant and brought disparities (Okada 12). The Asians immigrants into America are not free to represent the country in different professions. Okada reveals the conflicts between families concerning the decision of the children to join American military. The scenario reveals how it is hard to fight racism and trigger love among the people in America.
In the early 1890s, the representation of the minority in media depicts blatant disparity and discrimination. Ideally, some people in the debate attempted to justify that institutional racism did not exist. In most cases, the considerations of the minority groups were determined by the educational achievement and family income. The social status of the family members was an important factor in filming and theater.
Filmmaking and theater represent the many disparities in America since the ancient time. In the 1960s, the Asian Americans were fighting for fair representation and authentication. The Asians American and the African American felt the effects of racial segregation during their process of acquiring ideal citizenship (Okada 13). As such, the immigrants were to receive ideal citizenship if they qualify the social-economic criteria in use.
The discussion by Okada shows how the filmmaking industry tends to favor people of one color and not others. The non-whites are often expected to play roles perceived to be theirs and cannot even get the chances of switching places with the whites. In this case, the Asian-Americans have a negative image from the perspectives of the whites. Ideally, filmmaking follows specific rules that safeguard the rights of the viewers (Okada 22). Traditionally, the dominance of the whites in APA films created a negative impression on the viewers. For example, the common television shows receive criticism from the anti-racist activists because of the evident disparity.
The logic applicable in the filmmaking and the presentation of shows on television is the expectation of the audiences. Notably, it is important for the APA to realize the consumers of their programs and the contemporary issues such as racism. The white stereotypes of Asians were the source of confusion when it came rating the shows. The existing stereotypes led to the divisions of the opinions of the audience. Some audience would feel that the show was groundbreaking yet will reveal because of effects of racism.
The discussion reveals the continuation of the historical inequality. There is an evidence of a feeling of white superiority in filmmaking. Ideally, disparity and effects of racism declined as the Asian Americans experienced an upward mobility (Okada 18). It is a hard task to correct the negative image in the minds of the natives created by the ‘model minority myth.’ The model-minority myth reflects the perspective of the whites on the Asian Americans.
The history of filmmaking among the Asian Americans reveals that their films would be through strict criteria before they would be acceptable in the theater. Notably, the film Chan Missing reveals how the whites, Asian and African relates in America (Okada 25). Ideally, the actors in the film are Asian American reveal the nature of the interaction between the black and white. In fact, the composition of the film reveals the boundaries between Whites and Asian.
The concern of Okada was to reveal the deficiency of fair representation of the diversity in commercial television. Ideally, the Public Broadcasting Service serves the all the citizens of the United States. The public television has to meet the needs of the entire community. For this reason, the working principles of the station should operate as the public wishes. Notably, the interest of diverse cultures is to have a fair representation in the broadcasting station.
The APA directors face diverse challenges regarding the interest of the public. It is hard to meet the wishes of the public because of diversity (Okada 44). The politicians have a stake in the operation of the APA and the entire filmmaking because they are part of publics. Ideally, the political difference in America increases the difference among the citizens. The public Broadcast has the interest of all the public. The diverse citizens in the United States have wishes and hopes regarding their representation in the station.
Public funding in the broadcasting station must attract the interest of the public. Often, a critical analysis of the operation of the public television must reflect the interest of the public and meet all their expectation. The disparity in representation of the people of race reduces the level of utility of the station (Okada 27). Besides, the racism and ethnicity are conspicuous from the disparity. It appears that satisfying the interest of a diverse community. Despite the obligation of the APA to represent the needs and the expectations of the public, disparities exist in the commercial film.
The ideally, the Asian American do not fully believe that they are part of the American citizens and would participate fully to defend their interest. Although the white civility has to be compromised with the low representation in the public broadcast, inferiority complex is a challenge. Most Asian American belief they are not s competent as the natives. Their deficiency is evident from the manner in which the Asians make their films. Most of them have a fear that their videos may not meet the criteria of their considerations in the theater and the release into the public (Okada 13). In the debate, the disparity is Asian American filmmaking arise from the nature of resource allocations. There is an evidence of marginalization of the Asian Americans by the Hollywood.
Okada, Jun. Making Asian American Film and Video: Histories, Institutions, Movements. New Jersey: Rutgers University Press. 1973.
Model Minority Myth in Filmmaking