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Japanese stereotypes made by Americans
Japanese stereotypes made by Americans
Gender roles in early film
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Since the mighty land of the sun opened their country to foreign eyes their women have been a popular subject of interest. With striking brown eyes, jet black hair their foreign customs have piqued the attention of the western gaze. Yet, with their fascination of them came negativity. Japanese women have been stereotyped to be submissive, weak, and respectful. While watching the film “Memoirs of a Geisha,” I found that all of these stereotypes were broken by the women in the film. Even in a movie taking place during pre-World War II to the American occupation, the women still defy theses labels. The main character of the movie is Chiyo, who is later known as Sayuri, shatters many stereotype about Japanese women. She is a feminist icon for many; when faced with an oppressive society she fights back in the best way she can. It is not just Chiyo who shatters stereotypes but also Mameha and Hatsumomo do as well. They all take matters into their own hands. As the girls attempt to move up the social ladder they can always see the glass ceiling above her heads. First I looked at the structure of their society. Men are the leaders in both Japan and America. In this era both nationalities women use their relationships with men to elevate their own status. Japan is …show more content…
Hatsumomo lashes out both verbally and physically when she is upset. She disrespects Mameha, a geisha who is above her in status. Unlike, the main character, she is bitter, resentful and manipulative. She also breaks one of the key stereotypes about Japanese society. When addressing the owner of the house she is disrespectful. She yells, throws a fit and even attempts to burn the house down. In their society respect for your elders is extremely important, yet the senior members of the house, act as though her attitude is normal. The owner of the house recognizes that she is rude and simply puts up with
Some were as young as fourteen while some were mothers who were forced to leave their child behind in Japan, but for these women the sacrifice will be worth it once they get to San Francisco. Yet, the women desired a better life separate from their past, but brought things that represent their culture desiring to continue the Buddha traditions in America; such as, their kimonos, calligraphy brushes, rice paper, tiny brass Buddha, fox god, dolls from their childhood, paper fans, and etc. (Otsuka, 2011, p. 9) A part of them wanted a better life full of respect, not only toward males but also toward them, and away from the fields, but wanted to continue the old traditions from their home land. These hopes of a grand new life was shattered when the boat arrived to America for none of the husbands were recognizable to any of the women. The pictures were false personas of a life that didn’t really exist for these men, and the men were twenty years older than their picture. All their hopes were destroyed that some wanted to go home even before getting off the boat, while others kept their chins up holding onto their hope that maybe something good will come from this marriage and walked off the boat (Otsuka, 2011, p.
Tanaka, Toshiyuki. Japan's Comfort Women: Sexual Slavery and Prostitution during World War II and the US Occupation. London: Routledge, 2002. Print.
Over the past fifty years Japan has seen significant changes in all aspects of its society and the way it interacts with the outside world. For example, despite suffering a defeat in World War II, Japan soon became one of Asia’s greatest economic powers. In Japan in Transformation, 1952 - 2000, Jeffrey Kingston focuses on various aspects of change in Japanese society and politics in the period after World War II. These include the effect of the US occupation, analysis of postwar politics, the economic boom, changes in demographics, the treatment of women, and foreign policy and security issues. Throughout the book, the author tries and often succeeds to explain many of these changes as part of the legacy of the occupation. All in all, Jeffrey Kingston gives a thorough economic, politic and social analysis of this crucial period in Japanese history.
AIn the movie, The Grudge (2004), a woman is used to play the four big roles, which are the main character, supporting character, victim who dies early, and the evil creature, which is the dead mother who is now a ghost. The main character, Karen Davis, is an exchange student who works at the same place as one of the supporting characters as a care-worker. Throughout the movie, she learns about the events that brought the ghost into existence, while simultaneously being followed by the ghost. In the end, she attempts to kill the ghost, but it survives and continues to follow her. One of the gender stereotypical characteristics of the main character was her job as a care-worker. Care-workers are people who care for others such as children,
Known for her work as a historian and rather outspoken political activist, Yamakawa Kikue was also the author of her book titled Women of the Mito Domain (p. xix). At the time she was writing this work, Yamakawa was under the surveillance of the Japanese government as the result of her and her husband’s work for the socialist and feminist movements in Japan (p. xx-xxi). But despite the restrictions she was undoubtedly required to abide by in order to produce this book, her work contains an air of commentary on the past and present political, social, and economic issues that had been plaguing the nation (p. xxi). This work is a piece that comments on the significance of women’s roles in history through the example of Yamakawa’s own family and
Other research has devoted to unveiling the origins and the development of their stereotyping and put them among the historical contextual frameworks (e.g., Kawai, 2003, 2005; Prasso, 2005). Research has shown that those stereotypes are not all without merits. The China doll/geisha girl stereotype, to some degree, presents us with a romanticized woman who embodies many feminine characteristics that are/ were valued and praised. The evolving stereotype of the Asian martial arts mistress features women power, which might have the potentials to free women from the gendered binary of proper femininity and masculinity. Nevertheless, the Western media cultural industry adopts several gender and race policing strategies so as to preserve patriarchy and White supremacy, obscuring the Asian women and diminishing the positive associations those images can possibly imply. The following section critically analyzes two cases, The Memoirs of a Geisha and Nikita, that I consider to typify the stereotypical depictions of Asian women as either the submissive, feminine geisha girl or as a powerful yet threatening martial arts lady. I also seek to examine
But as Dalby goes on to note, the geisha culture is marked by the "primacy of sisterhood", and represents a kind of counterpart to the bonds of brotherhood in such fraternal Japanese cultures as business corporations and company unions. The modern geisha's services are beyond the means of the average Japanese man today, but the geisha continues to represent a cultural ideal: the ideal of the witty, educated woman who can talk frankly with a man about life, sex, art, politics, or anything else his wife cannot.
Nagata, Donna, K. "Expanding the Internment Narrative: Multiple Layers of Japanese American Women's Experience." Women's Untold Stories: Breaking Silence, Talking Back, Voicing Complexity. Ed. Mary Romero and Abigail J. Stewart. New York: Routledge, 1999. 71- 82.
Living with their traditional Chinese culture in American society, these eight Chinese-American women suffer the problems of cultural conflicts in compliance with their gender. Asian women were looked at as being "positive, subservient, compliant, quiet, delicate, exotic, romantic and easy to please" (Mulan). They are nicknamed "China dolls" or " lotus blossoms", which are sexually loaded stereotypes of Asian women. These stereotypes discriminate against women by degrading their worth as people. By men taking advantage of their obedience and submissiveness they are showing that these women are not valued and that they have no voice. Judith Butler responds to these roles by saying, "Gender is an act, a performance, a set of manipulated codes and costumes rather than a core aspect of essential identity". By the middle of this century, Chinese women had been playing this manipulative, subservient role for m...
Over the Years Japan has changed its outlook on women drastically. It has varied in how it views women, and how it treats them. Recent times have seen a restrictions on the equality of women, and a shared male dominated tatemae that permeates all aspects of the Japanese culture. But that doesn't stop the Japanese from continuing to question that status quo, and creative works that push the boundaries are created all the time. Japan’s imagination, to create Anime and films that question the traditional social hierarchy and gender boundaries, identifies Japan to be the hidden(if slightly censored) artists of the world. Constantly creating new works that question and branch off from the social norms of the rest of the world.
Saikaku, Ihara. Life of a Sensuous Woman. The Longman Anthology of World Literature. (Vol. D) Ed. Damrosch. New York: Pearson, 2004. 604-621. [Excerpt.]
Precious is difficult to classify as a racist film, maybe intra-racial if the writer, director, and producers are of the same race, how can it be racist? I think it can be associated with race, but not racist due to the coverage the media places upon certain communities. Although those being portrayed in the film are fitting into the stereotypes of lazy, living on the system of welfare, uneducated, women are unable to have a meaningful relationship with a man, unhealthy eating, sexually aggressive male, incestuous relationship, young and pregnant are a few of the stereotypes I took note of in this film. I think Lee Daniels, included the basic stereotypes, because they are the most common, and I think there are others that are taboo, that are
Hunter, Janet. “Gender, economics and industrialization: approaches to the economic history of Japanese women, 1868-1945.” In Japanese women, emerging from subservience, 1868-1945, edited by Tomida Hiroko and Daniels Gordon. Folkestone: Global Oriental, 2005, 119-144.
Here in America, in regards to dating and marriage, we are free to do whatever we please, anytime. Many people enjoy the feeling of spontaneity and randomness because of pure excitement. Newer and better things excite the folks these times and many times if you can kiss the mind, the heart will follow. However, in Japan, things can be very different. In Japanese culture, there is a “certain way” you must act, rules of society that can’t be broken. Otherwise, many people will think of you in a wrong way. To the Japanese, following tradition can be incredibly important in dating and marriage, as such, reputation is also important. Many times, the woman is to be submissive of the man. The man in a sense controls the relationship. He will be the one to say when the dates are, what the woman should do, what they should do, and similar aspects of dating. The Ja...
Shan-Loong, M. L. (2000, March 14). Tradition & Change –. Gender Roles in Japan. Retrieved