Class Presentation- Nelson Tsui and Tien Le
Homecoming Game and Yellow Brotherhood are both products of the political atmosphere and movements surrounding the 1960s and 70s. Asian American independent media were created from pockets of Asian Americans in suburban SoCal, New York’s Chinatown, and university campuses such as Los Angeles City College and Harvard University who took advantage of the increasing accessibility of media tools, creating a cinema for themselves by themselves (Gong). One such group is UCLA’s Center for EthnoCommunications, an example of ““living media” – the self-documentation and preservation of our histories and cultures in real time and virtual space” (Robert Nakamura). During this time, a sense of Asian American identity and belief in the power of media united Asian Americans to confront and contest the media representations of Asian Americans with their own representations (Feng).
Homecoming Game (1970)
Dir. Danny Kwan
Documented the contemporary Asian American drug, violence and youth counterculture as well as the Asian American Hard Core formed to facilitate Asian youths to “stay clean of gang banging and dope” (E. Wong, Asamura).
Yellow Brotherhood (1970)
Dir. Brian Tadashi Maeda
Documented the Yellow Brotherhood and its membership of former prisoners and/or drug users who formed biker gangs to combat, sometimes forcefully, drugs abuse in Asian American youth counterculture as well as the internment of Japanese Americans.
- How do male&female representations of Asians in these films compare to the Asian representations thus far in class?
- How does this representation of Asian America(ns) compare to Asian America(ns) of Flower Drum Song? How do formal elements support your claim? (Music, Costume, Language, Production Value, etc)
- Recalling last week’s topic to be assimilation, model minority, and the Cold War, how does Yellow Brotherhood and Homecoming Game relate to these themes?
- What has transpired to result in this counterculture?
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