On the Same Page 2022: Interior Chinatown

Hollywood Chinese: The Chinese in American Feature Films presents an intimate look at the Chinese American role and influence in Hollywood, from some of the earliest films set in America's Chinatowns to the contemporary artists remaking the face of Hollywood. Filled with more than 500 stunning, vintage photographs, movie posters, lobby cards and assorted ephemera based on the author's extraordinary personal collection, this lavish coffee-table book's richly illustrated pages show the myths, misconceptions, and memorable moments of the Chinese in film. Author and filmmaker Arthur Dong takes the reader on a guided tour of Chinese American film history, from the hyper-stereotyped portrayals of Chinatown Tong Wars to the exoticized romances starring glamorous actresses like Anna May Wong and Nancy Kwan. He highlights the issues and challenges of Hollywood's history, including the controversial casting of white actors in Asian roles, known as 'yellowface.' Richly detailed and comprehensive in scope, Hollywood Chinese shows how the industry has evolved, beginning with War of the Tongs (1917), billed to white audiences as 'planned and executed by the Chinese' and ending with Crazy Rich Asians (2018).

Hollywood has long exerted an international influence on the global imagination. In the first half of the 20th century, Chinese American actors who aspired to a career in Hollywood found their opportunities limited to roles that propagated Asian stereotypes. Meanwhile, many Chinese roles were given to non-Asian actors playing yellowface. It has been a long, hard road for Chinese in Hollywood who have striven to build meaningful careers behind and in front of the camera. This book focuses on the contributions of Chinese and Chinese Americans to the film and television industries as well as those who lived and worked in the Hollywood area. Vintage photographs celebrate pioneers such as Anna May Wong, Tyrus Wong, Milton Quon, James Wong Howe, and many more. From the silent film era to the present, the history of Chinese in Hollywood will surpass 100 years.

Anna May Wong is undoubtedly, one of the most well-known and most popular Chinese-American actresses ever to have graced the silver screen. Between 1919 and 1960, she starred in over 50 movies. She shared equal billing with Douglas Fairbanks Sr, Marlene Dietrich and Werner Oland. Her life, though, is almost the prototypical story of an immigrant's difficult path through assimilation into American culture. children born to a laundryman and his wife. Her life in Los Angeles fuelled her fascination with Hollywood and in 1919 she secured a small part in her first film, The Red Lantern. Her most famous film roles were in Thief of Baghdad, Old San Francisco and, most of all, Shanghai Express opposite La Dietrich. Discrimination against Asians continued, however, and when it came time to make a film version of Pearl Buck's The Good Earth, she was passed over for the role that was ultimately given to Luise Rainer. Apparently, Wong was too Asian for the role.

From the late 1930's to the early 1960's, Chinese nightclubs fourished in San Francisco's Chinatown. They were the first, and in those days the only venues for talented Asians who sang or danced professionally. Asian entertainers came from everywhere to perform in Chinatown, and they all found a home in the Chinese Nightclubs. For publicity purposes, many of the entertainers were compared to famous Caucasian stars. They were billed as "The Chinese Fred Astair and Ginger Rogers," "the Chinese Frank Sinatra", the "Chinese Sophie Tucker." They sang and danced for the GIs during the war, and Hollywood stars like Ronald Reagan and Jane Wyman came to their shows. In this book the men and women who performed in the nightclubs from 1937 to 1964, tell their stories in their own words. Forbidden city brings back to life an age of glamour and a long neglected slice of Asian-American history.

In the early twentieth century Hollywood was fascinated by the Far East. Chinese immigrants, however, were excluded since 1882 and racism pervaded U.S. society. When motion pictures became the most popular form of entertainment, immigration and race were heavily debated topics. This is the first book that analyses the significance of motion pictures within these discourses. Taking up approaches from the fields of visual culture studies and visual history, Björn A. Schmidt undertakes a visual discourse analysis of films from the 1910s to 1930s. The author shows how the visuality of films and the historical discourses and practices that surrounded them portrayed Chinese immigration and contributed to notions of Chinese Americans as a foreign and other race.