ASIAN-AMERICAN CINEMA
In the early days of west coast film production, there were few roles for Asian actors except as unflattering stereotypes or anonymous background work. Nonetheless, a small number pursued careers in front of and behind the camera, intersecting and influencing Hollywood's embryonic phase. Although most worked in near complete obscurity, two -- Anna May Wong and Sessue Hayakawa -- became veritable superstars. They still were virtually unable to find roles to their liking, since most of the lead roles (still usually degrading) went to actors in yellowface, a practice that continued long after blackface became taboo. Anna May Wong and Sessue Hayakawa used their earnings to attempt to improve opportunities for less famous Asians by creating more positive depictions, following black cinema's lead. However, with immigration restricted and laws preventing citizenship and property ownership, even the few rich, famous Americanized Asians faced perhaps greater challenges.
Asian-American Silent Cinema
In the end, early efforts to establish a viable Asian-American Cinema failed to take hold. Within a few years, the American film industry would be dominated by Hollywood, who during the '30s, '40s, '50s and '60s were responsible for most depictions of Asian-Americans. An alternative Asian-American Cinema wouldn't appear until the '70s, taking off in the '80s before growing considerably in breadth and scope in the '90s and '00s.
In the early days of west coast film production, there were few roles for Asian actors except as unflattering stereotypes or anonymous background work. Nonetheless, a small number pursued careers in front of and behind the camera, intersecting and influencing Hollywood's embryonic phase. Although most worked in near complete obscurity, two -- Anna May Wong and Sessue Hayakawa -- became veritable superstars. They still were virtually unable to find roles to their liking, since most of the lead roles (still usually degrading) went to actors in yellowface, a practice that continued long after blackface became taboo. Anna May Wong and Sessue Hayakawa used their earnings to attempt to improve opportunities for less famous Asians by creating more positive depictions, following black cinema's lead. However, with immigration restricted and laws preventing citizenship and property ownership, even the few rich, famous Americanized Asians faced perhaps greater challenges.
Asian-American Silent Cinema
In the end, early efforts to establish a viable Asian-American Cinema failed to take hold. Within a few years, the American film industry would be dominated by Hollywood, who during the '30s, '40s, '50s and '60s were responsible for most depictions of Asian-Americans. An alternative Asian-American Cinema wouldn't appear until the '70s, taking off in the '80s before growing considerably in breadth and scope in the '90s and '00s.
