Tie A Yellow Ribbon...

[tapestrybabe]

http://alsoknownas.org/modules.php?name=News&file=article&sid=24

TIE A YELLOW RIBBON is a dramatic hour-long exploration into the lives of Asian-American girls.

Structured into seven interwoven vignettes, TIE A YELLOW RIBBON gives brief, fragmentary glimpses into the lives of three Asian American girls who are struggling to find self-esteem, identity, and hope growing up in. Specifically, it is about three girls --Sandy, Jenny (a Korean adoptee), and Bea – and their search for love and acceptance within their family and community as they grow up in America’s predominantly White towns and suburbs.

TIE A YELLOW RIBBON seeks to reach out to the Asian-American female community and give them visibility; especially those girls living in America’s heartland where diversity is absolutely lacking.

The film also seeks to raise awareness of a critical yet often ignored social condition -- that Asian-American girls have the highest rates of depression of all racial/ethnic and gender groups in the U.S. Among women aged 15-24, they have the highest suicide mortality rates across all racial groups.

The stories in TIE A YELLOW RIBBON are inspired by writer/director Joy Dietrich’s personal experiences as a Korean-adoptee and Asian-American female. “Why are we so depressed?” asks Dietrich.

“As a group, we are isolated. We feel alone. We are typically overachievers and place undue pressure on ourselves in the pursuit for perfection. We are falsely represented in the media. Our heroes are black and white. We are invisible in American society”.

TIE A YELLOW RIBBON is writer/director Joy Dietrich’s third film about troubled girls. Her first film is the critically acclaimed SURPLUS, which explores the devastating effects of poverty on the children of a Korean family. SURPLUS has screened at numerous film festivals around the world such as Raindance in London, San Francisco International Asian American Film Festival, Los Angeles Short Film Festival, and New York International Asian American Film Festival. SURPLUS is distributed by San Francisco based NAATA, and continues to spark debate around college campuses nationwide.

Joy’s 2nd film ROBOT GIRL is about an emotionally numb girl who operates under the delusion that she is a robot. It premiered at the Dahlonega International Film Festival in Dahlonega, Georgia.

TIE A YELLOW RIBBON, the third film from Korean adoptee filmmaker Joy Dietrich, is currently in pre-production, and is scheduled to begin shooting in January 2005.
TIE A YELLOW RIBBON has already been selected to receive funding from The New York State Council on the Arts (NYSCA, www.nysca.org) and from Shouting Cow Productions (http://www.shoutingcow.com).

Women Make Movies has also selected TIE A YELLOW RIBBON to receive one of their few fiscal sponsorships. Their fiscal sponsorship allows all donations to be 100% Tax-Deductible.

If you are interested in contributing or getting involved with TIE A YELLOW RIBBON, please contact producer Thomas Yong at 914.439.6141 or producer@shoutingcow.com

For more information about TIE A YELLOW RIBBON, visit http://www.jedfilms.net.

[Faithless]

Interesting find: http://www.billburg.com/arts/detail.cfm?id=2177
I'm Joy Dietrich and Jed Films houses the films that I and my ad hoc group of collaborators make. The films are mostly about girls in trouble. That's abandoned girls; girls feeling numb, disconnected, alienated; under-represented Asian-American girls, who by the way have one of the highest suicide rates in this country.

Though my subjects are primarily girls, I want to tell stories that touch everyone - stories dealing with such universal themes as the search for identity, the yearning to belong, duality of human nature, social injustice...

Since my move to New York City in September 1998, preceded by journalistic stints in Geneva and Paris, I have written, directed and co-produced two short films. The first film, SURPLUS dealt with the devastating effects of poverty on the children of a Korean family. The 22-minute, 16mm short completed in 2000, has been shown at several film festivals including the San Francisco International Asian-American Film Festival, the Los Angeles Short Film Festival, and Raindance in London. San Francisco-based NAATA picked SURPLUS up for distribution in 2001.

The most recent film, ROBOT GIRL, also a 16mm short, was shot in April 2001 and completed in the following year. This film is about an emotionally numb woman under the delusion that she is a robot.

Next on the production slate is "Tie a Yellow Ribbon," a 45 minute vignette-based featurette that will go into production in 2004.

[AngryABCGirl]

I've seen trailers for this and have done some promo for this film when I was in the US. I wish I could see it.


www.yellowribbonmovie.com
www.myspace.com/yellowribbonmovie

Director's Statement:

I wanted to make a film that gave nuanced portraits of young Asian-American women whose stories are seldom told in mainstream media. The dirty little secret is that Asian-American women have one of the highest rates of depression in the United States. While this film doesn't attempt to explain the reasons why, it does expose the isolating, alienating factors that make the young women feel the way they do -- the greatest among them the lack of acceptance and belonging. TIE A YELLOW RIBBON is ultimately about three young women's search for love and belonging.


Synopsis:
In the feature-length narrative film TIE A YELLOW RIBBON, Jenny Mason, a Korean adoptee and aspiring photographer, walks the streets of New York in a state of resigned indifference. Her days are spent with white friends and colleagues, her nights with white men. She has no contact with her Midwestern family due to a childhood indiscretion with her white brother, Joe. She rejects any attachment, dumping men as fast as she can pick them up. Yet she longs for a connection that would make her feel at home -- a home that she has lost and is forever seeking.

One day, her roommate asks her to move out, fanning her fears of abandonment. But as one door closes, another opens. She moves in with the beautiful but troubled Beatrice Shimizu and meets super-cool Simon Chang, whose sister, Sandy, lives next door. Together they open a whole new world for Jenny, an Asian American existence that she has never explored. Her indifference toward life starts melting away, as she embraces Bea, who battles her own self-esteem issues with family and a philandering boyfriend, Phillip. Bea and Simon encourage and help jumpstart Jenny’s career in photography.

Suddenly, Joe appears at her door, stirring up long lost feelings that she has tried to bury. As Jenny searches for a voice and photographic style that she can call her own, she finds that she must face her unresolved feelings toward her brother and family, and ultimately reconcile her identity as an Asian American.

Making her feature debut, writer-director Joy Dietrich, also a Korean adoptee, introduces audiences to the world of Asian American young women and delicately addresses the abnormally high rates of depression and suicide among Asian American girls, creating a work great compassion and poetic beauty.


Screening July 27th in New York

You can buy tickets by calling the box office at
212-327-9385.

or purchase online at
http://aaiff.org/2007/films/film_detail.php?i=194

And thirdly you can buy tickets at the Asia Society's
theater. If the online booking says it's sold-out,
there are always rush tickets that they reserve for
last-minute purchases.

Independent films, particularly Asian American films are all
on the audience. Distribution companies send out
scouts to screenings to check out audience turnout and
reaction, without our knowledge. So it's vital that
you come out and support films during its festival
run!

Lastly, Asia Society and YouTube did an interview with
the director and another emerging director. They're pushing to get
the interview shown on CURRENT TV (Al Gore's hip new
channel).

Click here to view the interview:

http://www.current.tv/watch/85847362

[AngryABCGirl]

Reminder and heads up to support this film- I really wish I could be able to see it:

TIE A YELLOW RIBBON is Friday July 27th, at 9:15pm at
the Asian American International Film Festival in the
Asia Society museum on the corner of 70th Street and
Park Avenue. Apparently tickets are almost sold out for the theater for those of you in NY.

Tickets can be purchased online at
http://aaiff.org/2007/films/film_detail.php?i=194

Rush tickets will be available on the day of the
screening for those procrastinators! Just stand in
line.

After the screening, walk a few blocks and you'll get
a chance to speak to me, the actors, the crew and the
producers at the lounge Stir. It's probably a 5-10
minute walk from the Asia Society theater.

Stir
1363 First Avenue, just north of 73rd Street
(212) 744-7190
http://www.stirnyc.com/

Tell the bouncer you're with the Tie a Yellow Ribbon
film party, he'll give you a wrist band to get the
drink specials. Wine is half-price at $5 (for any
type) and beer is $4 (either domestic or import).

Also if anyone has the munchies, Stir has promised to
keep their kitchen open until midnight. They serve an
eclectic mix of food.

[AngryABCGirl]

updated screenings:

Next up for "Tie a Yellow Ribbon" is Dallas (that's
right guys and gals -- it's Texas y'all)

Sat. August 25th at 2:15pm -- Asian Film Festival of
Dallas. For tickets, go to
http://affd.org/2007/filmindex.html#tayr
I will be attending.

Please Help Spread the Word!

Other Upcoming Screenings...

October 11- 18, 2007.
TYR will be screening in Competition for Best Film at
the San Diego Asian Film Festival in San Diego,
California. Exact Date and Time TBA. Go to
http://www.sdaff.org/festival/2007

Then I'm heading to Mannheim and Heidelberg, Germany!
October 10-18, 2007
TYR screens in Competition at the prestigious
Mannheim-Heidelberg International Film Festival,
Germany (this festival has a reputation for showing
the first films of directors who later become
world-renown). Exact Date and Time TBA. See
http://www.mannheim-filmfestival.com

December 2007
Delray Beach Film Festival in Delray Beach, Florida.
Exact Date and Time TBA.

You can always check for future screenings at TYR's
official Website at http://www.yellowribbonmovie.com
or Myspace at
http://www.myspace.com/yellowribbonmovie.

[tripostrophe]

Wish it were showing around here...sounds like a really good overdue movie though.

[j&j2]

Director's Statement

I wanted to make a film that gave nuanced portraits of young Asian-American women whose stories are seldom told in mainstream media. The dirty little secret is that Asian-American women have one of the highest rates of depression in the United States. While this film doesn't attempt to explain the reasons why, it does expose the isolating, alienating factors that make the young women feel the way they do -- the greatest among them the lack of acceptance and belonging. TIE A YELLOW RIBBON is ultimately about three young women's search for love and belonging.


Long Synopsis
In the feature-length narrative film TIE A YELLOW RIBBON, Jenny Mason, a Korean adoptee and aspiring photographer, walks the streets of New York in a state of resigned indifference. Her days are spent with white friends and colleagues, her nights with white men. She has no contact with her Midwestern family due to a childhood indiscretion with her white brother, Joe. She rejects any attachment, dumping men as fast as she can pick them up. Yet she longs for a connection that would make her feel at home -- a home that she has lost and is forever seeking.

One day, her roommate asks her to move out, fanning her fears of abandonment. But as one door closes, another opens. She moves in with the beautiful but troubled Beatrice Shimizu and meets super-cool Simon Chang, whose sister, Sandy, lives next door. Together they open a whole new world for Jenny, an Asian American existence that she has never explored. Her indifference toward life starts melting away, as she embraces Bea, who battles her own self-esteem issues with family and a philandering boyfriend, Phillip. Bea and Simon encourage and help jumpstart Jenny’s career in photography.

Suddenly, Joe appears at her door, stirring up long lost feelings that she has tried to bury. As Jenny searches for a voice and photographic style that she can call her own, she finds that she must face her unresolved feelings toward her brother and family, and ultimately reconcile her identity as an Asian American.

Making her feature debut, writer-director Joy Dietrich, also a Korean adoptee, introduces audiences to the world of Asian American young women and delicately addresses the abnormally high rates of depression and suicide among Asian American girls, creating a work great compassion and poetic beauty.

Hmmm - it seems this AAF director "gets" the whole thing about self-esteem in the AA community (or rather the lack of it - in a significant portion of the community).

http://www.jedfilms.net/yellowribbon/index.php

[j&j2]

And oh, anyone who thinks it's just coincidence that the boyfriends are white should have their head smacked.

And even if all the Asian guys had WF girlfriends - if they are anything like the girls in the film - it just makes both groups pitiful (note, I'm not saying that all or even a majority of AAs are like this - but a significant minority are).

[deez nuts]

But as one door closes, another opens. She moves in with the beautiful but troubled Beatrice Shimizu and meets super-cool Simon Chang, whose sister, Sandy, lives next door. Together they open a whole new world for Jenny, an Asian American existence that she has never explored.

Asian American threesome? The title should've been "Reclaiming of a Korean S.O.W."

[AngryABCGirl]

Threads about this film have been merged. I've seen this film play at festival, it's very well done for a first effort. It's playing on PBS this month: http://itvs.org/shows/ataglance.php?showID=7597

For all you desperate men looking for a good image, the Asian American male love interest is devestatingly sexy and good-looking.

[tommyhtown]

Are the chics hot? That's the image I want to look at.

The movie seems interesting. I might check it out on PBS. Tivo or what not.

[mr. x]

Have not seen but in the movie's defense if the love interests were asian then her depression would be caused by them and their domineering long bearded ways

[AngryABCGirl]

Have not seen but in the movie's defense if the love interests were asian then her depression would be caused by them and their domineering long bearded ways

The Asian love interest actually saves one of them from a white guy.

[Banana]

Have not seen but in the movie's defense if the love interests were asian then her depression would be caused by them and their domineering long bearded ways

I laughed out loud. Guys who complain about this are so jaded that even if "the Asian love interest actually saves one of them from a white guy" was the premise of the film, it would already be prematurely dismissed anyway. All the need to SEE is some white guy in this film and already make assumptions about the film.

It's a freakin' stereotype in itself.

[mr. x]

Im curious, is this Joe Dietrich guy white or mixed? Just seems weird if a non asian guy made a movie where she gets "saved" by a non-white guy

[pikachupacabra]

Im curious, is this Joe Dietrich guy white or mixed? Just seems weird if a non asian guy made a movie where she gets "saved" by a non-white guy


It's JOY Dietrich, she's a korean-am adopted into a white family

[AngryABCGirl]

It's JOY Dietrich, she's a korean-am adopted into a white family

The main character of the film is a Korean adoptee.

[j&j2]

Is it just coincidence that all of these films made by AAF directors/screenwriters just seem to always include WMs in an integral way?

[deez nuts]

Is it just coincidence that all of these films made by AAF directors/screenwriters just seem to always include WMs in an integral way?

That's cuz they're sellout whores.

[pikachupacabra]

The main character of the film is a Korean adoptee.


Now I'm confused. As far as I know, the main character (Jenny) and the director (Joy) are both kor-am adoptees. But the brother character was also named Joe, as mr. x was asking. Who are we talking about here again.

:confused: :confused: :confused:

Is it just coincidence that all of these films made by AAF directors/screenwriters just seem to always include WMs in an integral way?


The director was a korean-am adoptee into a white family...the main character is as well. It might be hard to get away from the whities with a storyline like that

[AngryABCGirl]

Is it just coincidence that all of these films made by AAF directors/screenwriters just seem to always include WMs in an integral way?

How did Saving Face integrate WMs?

I'm so sick of whiny Asian boys on the internet being little bitches like this. Grow up and be an Asian man people and stop looking at every crevice for an WM issue.

[Sunflare]

From what I've seen in this thread so far, this sounds like a good film. I am definitely looking forward to watching this documentary in time and see what I can learn from it.

[BillBlythe]

How did Saving Face integrate WMs?

I'm so sick of whiny Asian boys on the internet being little bitches like this. Grow up and be an Asian man people and stop looking at every crevice for an WM issue.

Saving Face didn't integrate Asian males either if I remember. The Asian male character who was the female leads' friend, who may or may not speak english(I can't remember) was a background character and the SF storyline was basically about two Asian female lesbians. So we have a ton of AF/WM movies and then an Asian lesbian flick.

I saw this movie after seeing a commercial for ANOTHER Asian American movie that had an AF lead with a latino male so I thought:

"Wow, if they don't have white males then they have Latino males, if it's not Latino males, then it's an Asian lesbian, and if none of those are available I guess they don't make movies. What the heck is Asian American cinema then?"

Byron Wong is going to be on Fallout Central (or he already was yesterday I dunno) and since he debated Jenn Fang about the merits of Falling for Grace not too long ago I was tempted to ask him to do a little research on Asian American female directors and their movie making tendencies to find if there was some interesting correlations. I think it's noteworthy discussion for sure.

[AngryABCGirl]

Saving Face didn't integrate Asian males either if I remember. The Asian male character who was the female leads' friend, who may or may not speak english(I can't remember) was a background character and the SF storyline was basically about two Asian female lesbians. So we have a ton of AF/WM movies and then an Asian lesbian flick.

I saw this movie after seeing a commercial for ANOTHER Asian American movie that had an AF lead with a latino male so I thought:

"Wow, if they don't have white males then they have Latino males, if it's not Latino males, then it's an Asian lesbian, and if none of those are available I guess they don't make movies. What the heck is Asian American cinema then?"

Asian American cinema has some duty just to males or something? What was Better Luck Tomorrow that first broke ground or recently Shanghai Kiss, American Passtime, Namesake or a host of other films? In fact most of the Asian American Films that have played at festivals the last few years have mostly had Asian male protagonists, some with white women. The majority of Asian American filmmakers have generally been Asian males. Filmmakers Joy Dietrich and Alice Wu are actually in the minority. Get a clue before you speak.

And did we suddenly forget the strapping young dude that had the affair with the mother in Saving Face? And is the story of two lesbians less valid, because if anyone Asian lesbians have some of the most minimal representation in media images except as a fetish.

This train of thought is fucking pathetic.

[BillBlythe]

Asian American cinema has some duty just to males or something? What was Better Luck Tomorrow that first broke ground or recently Shanghai Kiss, American Passtime, Namesake or a host of other films?

In fact most of the Asian American Films that have played at festivals the last few years have mostly had Asian male protagonists, some with white women. The majority of Asian American filmmakers have generally been Asian males. Filmmakers Joy Dietrich and Alice Wu are actually in the minority. Get a clue before you speak.

You kind of made my point there.


And did we suddenly forget the strapping young dude that had the affair with the mother in Saving Face? And is the story of two lesbians less valid, because if anyone Asian lesbians have some of the most minimal representation in media images except as a fetish.



Oh I'm awful I know. Asking for some AM/AF representation from Asian female directors makes me a total piece of shit. Those poor Asian lesbians need representation even more than we do. What was I thinking. Asian men are just selfish as usual I guess. :rolleyes:

I just love that there isn't this 'greater thing' to answer to. Everything seems to have a convenient excuse. I mean, come on, 'Asian lesbians have some of the most minimal representation in media images except as a fetish'??

This train of thought is fucking pathetic.

You took the words right out of my mouth.

[Sunflare]

Byron Wong is going to be on Fallout Central (or he already was yesterday I dunno) and since he debated Jenn Fang about the merits of Falling for Grace not too long ago I was tempted to ask him to do a little research on Asian American female directors and their movie making tendencies to find if there was some interesting correlations. I think it's noteworthy discussion for sure.

The guys on Fallout always has very good discussions online and damn good articles w/ editorials when it comes to genger issues along with the other sensitive issues concerning APA representation in American cimena. They are no bunch of apologists, that's for sure.

As I find the time I need to catch up on their podcasts. . . . .

Anyway, generally speaking I agree with BillBlythe on his thoughts. There was a huge underrepresentation of APAs in film and the literary circles in times past . . .

Still we see problems today with the genfer of IR issue in films, in advertitising and other facets of the American media. But it seems to me that due to the efforts of the APA activists, the media is becoming more sensitive to the concerns of the APA. They see that they can't play protray the usual stereotypes that they used to protray in the media, (all AMs as submissive and weak asexual geeks, and all AFs as super promiscuous white guyworshipping u know whats.) and get away with it anymore.

Fortunately the attitude on the part of the screenwriters and directers responsible for the selection of cast and plotting the storylines for these movieds is slowly changing. There is more APAs directly involved in the entertainment industry as well. Things are seeming to get better. Little by little. . . . .

But as the same time I can see where AngryABCGirl is coming from:

Asian American cinema has some duty just to males or something?
.......................
The majority of Asian American filmmakers have generally been Asian males.

I have to agree with her as well. AFs also need representation in the media as well. Their representation in the media needs to be preserved. They dont need to have their voices snuffed out.

I'm no expert on Asian American cinema but there seems to me that there was shift in the past where more AFs were more in the limelight then AMs and the false protrayals were excessively played out in the roles that they played inthe movies, on television etc. or in their literary writings that was published.

But again the scene is changing. More AMs are represented in more viable roles in the media and these false images of AMs and AFs are slowly being to change into more realistic and positive images.

Now I am looking foward to seeing more writings by Asian males in the literary circles in the future.

[AngryABCGirl]

You kind of made my point there.

How did I just make your point? Because two Asian American female directors didn't make the exact representation you wanted? Both Joy Dietrich and Alice Wu made efforts to represent Asian American males as good characters in their films, even though their films had women as protagonists. Who Killed Vincent Chin was directed by a woman, so is the upcoming Ping Pong Playa, which all focuses on Asian American me, Mira Nair and Jhumpira Landry, the director and writer of the Namesake are both women.

Asian American women filmmakers don't have some higher duty to not make films about women and about portraying Asian men in a good light considering Asian women have not been as well-represented as Asian men in Asian American cinema as of this moment. Women in mainstream media is not a good counterargument because we don't have full agency there by any means.

Also interracial dating is a reality, and these filmmakers have the right to make films about it and not shun it.

I also named the "higher thing" to answer to because too many people only care about Asian heterosexual male representation, and pretty much nothing else. I hope you're not one of those folks, but it's my duty to bring it up and put perspectives in contest because I rarely see a lot of sympathy for Asian American women nor gay Asians for that matter in these contexts.


I'm no expert on Asian American cinema but there seems to me that there was shift in the past where more AFs were more in the limelight then AMs and the false protrayals were excessively played out in the roles that they played inthe movies, on television etc. or in their literary writings that was published.

But again the scene is changing. More AMs are represented in more viable roles in the media and these false images of AMs and AFs are slowly being to change into more realistic and positive images.

Now I am looking foward to seeing more writings by Asian males in the literary circles in the future.

Asian females have been portrayed, falsely, by mainstream media for a long period of time. We're on TV, but only in stereotypical roles as sex dolls often with white or inarticulate immigrants or anchorwomen. It's downright degrading.

Asian American film has included Asian women, but most films made have only had women in secondary roles (as with most film in general). I'm looking for more Asian American filmmakers, both men and women to create better characters and images on both sides. I think Victor Vu did a good job in particular in First Morning or Richard Wong with Colma.

[Sunflare]

I'm no expert on Asian American cinema but there seems to me that there was shift in the past where more AFs were more in the limelight then AMs and the false protrayals were excessively played out in the roles that they played inthe movies, on television etc. or in their literary writings that was published.

But again the scene is changing. More AMs are represented in more viable roles in the media and these false images of AMs and AFs are slowly being to change into more realistic and positive images.

Now I am looking foward to seeing more writings by Asian males in the literary circles in the future.Asian females have been portrayed, falsely, by mainstream media for a long period of time. We're on TV, but only in stereotypical roles as sex dolls often with white or inarticulate immigrants or anchorwomen. It's downright degrading.

Asian American film has included Asian women, but most films made have only had women in secondary roles (as with most film in general). I'm looking for more Asian American filmmakers, both men and women to create better characters and images on both sides. I think Victor Vu did a good job in particular in First Morning or Richard Wong with Colma.

Well stated.

And that is exactly my gripe. Even as the fact remains that AFs has experienced more representation in the media then AMs until recently, many AFs in the media have been almost forced to be in acting roles where they are protrayed in roles in the media that is degrading, as you said for eons it seems. In stereotypical roles as racial tokens, honorary white citezens of the female gender, mystical orientalized sex objects or as whitewashed sellout ******. That gets me heated.

I noticed that with many of the AMs who post on subjects like this on the message boards fail to realize that yes, even with the fact that there need to be more AMs represented in the media and more directly involved in the production of American movies. . . .

And that there is a huge problem with the twisted stereotypes of AMs in the media that needs to be ironed out of the mainstream media . . .

That Asian American women also need to push forward, as well, with the doors they already have open to them in the entertainment industry and in other facets of the Anglo American media. . . .

We can't just tell the AFs to shut up and fall into the background. Much rather to the contrary, just as many AMs are stepping foward in the many aspects of American entertainment and working towards the purpose of demystifying this lie about the image of Asians . .

That AFs as well need to take that same step forward and make the moves necessary to represent us as APAs. The non-Asians need to hear and understand where the Asian American woman is coming from.

And us AMs --- We need to support them. Many of the men you label as whiners fail to see that point. I see it differently. If all the APAs, male and female, work together in a spirit of cooperation, then we can really make a substantial impact on the image we see protrayed in theough the media.

This documentary 'Tie A Yellow Ribbon' is a start. I never saw it yet but I imagine it would protray an accurate, very vivid picture of the Asian female experience as it currently is today. The fact that there may be WM/AF relationships in the film in itself is besides the point, its purpose is to present to the American public an accurate protrayal of the real life situations of the APA woman. It's not perfect and exactly paletable to some AMs because of this IR issues contained in the movie but it's a huge jump over what has been in the past concerning the AF aspect of the APA movement and what we all are trying to achieve.

I can definitely understand the arguements that many AMs have: That the problem with the IR dating diaparity issues being protrayed in a distorted way in the media is a reason behind the real life issue in itself. ( Which is slowly improving and getting better as many people fail to realize.)

But at the same time, the AFs need to speak out too. Maybe I'm looking at this subjectively and I'm saying this purely out of opinion, but I would like to see more the *truthful* perspective of life from an AFs point of view expressed in the media, uninfluenced and untainted by these white liberal clueless exectutive producers and screenwriters, jornalists. I already understand and appreciate very highly the angry AMs POVs on issues concerning our own APA identity and heritage and i feel that the American public needs to hear what the APA women needs to say. Perhaps the public can learn from this and it may help me gain a better understanding of the issues we all face as APAs, male and female alike.

[deez nuts]

I think I would rather watch that Natalise music video again than this Asian female/Korean adoptee version of that craptacular spectacle known as Better Luck Tomorrow. Another "Oh Noes! Woe is me finding my identity who am I journey through self discovery" Asian American snoozefest.


And us AMs --- We need to support them.

Never!

[Sunflare]

I meant we AMs need to support the AFs and not browbeat them for their efforts in expressing their views in the media.

That Natalise music video is crap. It degrades the AF image. I think 'Tie a Yellow Ribbon' gives a more accurate portrayal of the AF experience by a long shot from the comments I heard so far.

[deez nuts]

I meant we AMs need to support the AFs and not browbeat them for their efforts in expressing their views in the media.

What do we get out of it?

That Natalise music video is crap. It degrades the AF image. I think 'Tie a Yellow Ribbon' gives a more accurate portrayal of the AF experience by a long shot from the comments I heard so far.

It's not degradation when it's a AF that made it. It's empowerment kinda like taking back the night thing.

[Sunflare]

What do we get out of it?

We get a real to life view into the lives of AFs in America as it really is. It may help the public also to appreciate more where AFs stand in this society and their struggles.

It's not degradation when it's a AF that made it. It's empowerment kinda like taking back the night thing.

Maybe. In a way....

[deez nuts]

We get a real to life view into the lives of AFs in America as it really is. It may help the public also to appreciate more where AFs stand in this society and their struggles.


I think AF's are doing fine - well as fine as any woman in our society would be anyhow.

I wouldn't buy into their whole hypersexualized and double minority mantra especially on the internet by whiny Asian girls and their fanboy legion just like I wouldn't buy into the whole emasculated Asian male image can't get chicks mantra by whiny Asian boys especially on the internet.

[Sunflare]

I think AF's are doing fine - well as fine as any woman in our society would be anyhow.

I wouldn't buy into their whole hypersexualized and double minority mantra especially on the internet by whiny Asian girls and their fanboy legion just like I wouldn't buy into the whole emasculated Asian male image can't get chicks mantra by whiny Asian boys especially on the internet.

Its like walking on thin ice sometimes trying to comprehend with the American Asian feminism issues and at the same time struggling with the issues that continues to affect the Asian male in this society. Its very difficult to find a balance.

[deez nuts]

Its like walking on thin ice sometimes trying to comprehend with the American Asian feminism issues and at the same time struggling with the issues that continues to affect the Asian male in this society. Its very difficult to find a balance.

Can't please everybody and why would you want to? Just look out for yourself first and foremost.

[Sunflare]

Can't please everybody and why would you want to? Just look out for yourself first and foremost.

Very true.

[j&j2]

How did Saving Face integrate WMs?

I'm so sick of whiny Asian boys on the internet being little bitches like this. Grow up and be an Asian man people and stop looking at every crevice for an WM issue.

Uhh, “Saving Face” was about 2 Asian women who were LESBIANS (no WM needed) - but anyway, kudos for portraying an AF/AF lesbian couple and not AF/WF.

Are you going to deny that a good portion of films, books, etc. by Asian-American women depict wanting to get away from being “Asian” or “Asian culture” and wanting to be w/ a WM or white society as a big part of the story?

Or that Hollywood insiders don’t watch these films or read the books and thus, get influenced? (Heck, how are we, the AA community, able to argue about the emasculated portrayal of AMs and the portrayal of AFs as “eager” partners for WMs in the general media is unfair when it is repeatedly done in Asian-American projects?).

And oh, btw, as a “whiny” boy – I, too, am against Asian-American male filmmakers and authors who depict the focus of AM characters in getting a WF, tho, I have yet to see this as a pattern.

Altho I do see this increasingly on forums geared to Asian-Am males where they bash Asian-Am females for having "flat butts and chests" and "sh!tty personalities" and where they put WFs on a pedestal (I guess me taking the trouble to chastise them for having such negative, simplistic and unfair views of Asian females makes me a “whiny” boy as well).

And altho there haven’t been too many films by Asian-Am male directors depicting gay Asian couples – I would also have a problem if the majority of them (like “The Wedding Banquet”) depicted AM/WM gay couples.

[Sunflare]

Here we go again. *holds head in hands, exasperated*

[tapestrybabe]

i can NOT believe to those
who've actually seen this movie...
NEVEr stated the obvious about this film...

i mean, for those of you ppl talking about
the asian guy SAVINg her from the
SO CALLED WHIte b/f...
c'mon, *REALITY CHECK*
but she pulled a woody allen in this movie...
i mean, the SO CALLEd white b/f
actually happened to be her brother...

while the movie started out very strong...
it also ended VERY WEAK...