Media Consumers for Entertainment Equality
The following article was written by Racebending contributor Michelle I. We thank for her detailed research on the subject of yellowface. Here we include her original work, with minor revision and formatting changes for better integration with the Racebending site.
Yellowface, at its core, is not only the practice of applying prostheses or paint to simulate a crude idea of what “Asians” look like; it is non-Asian bodies (usually white) controlling what it means to be Asian on screen and stage, particularly in lead/major roles.
Tied to blackface and the portrayal of African Americans on the stage by whites in the nineteenth century, the term yellowface appears as early as the 1950s to describe the continuation in film of having white actors playing major Asian and Asian American roles and the grouping together of all makeup technologies used to make one look “Asian.”
Thanks to the power of film executives in casting, Asian and Asian Americans who had decades of theatrical experience in vaudeville were unable to find work or were relegated to stereotypical roles–laundrymen, prostitutes, or servants.
– Krystyn R. Moon
Yellowface: Creating the Chinese in American Popular Music and Performance, 1850-1920s (page 164)
The yellowface controversy is not about the quality of the films or performances. It is about systematic bias in casting as much as it is about individual choices made by directors, performers, and production companies.
History is complex and a full analysis of the influences and cultural attitudes of each time period is far beyond the scope of this article. However, we hope that readers keep an open mind and
Madame Butterfly (1915)
Mary Pickford as Cho-Cho-San
Broken Blossoms (1919)
Richard Barthelmess as Cheng Huan
The Dragon Painter (1919)
Edward Peil, Sr. as Kano Indara
The Sheik (1921)
Rudolph Valentino as Sheik Ahmed Ben Hassan
Mr. Wu (1927)
Lon Chaney as Mr.Wu
Renee Adoree as Wu Nang Ping
The stereotype that men and women of Asian descent were incapable of creating complex and subtle characters in film (not to mention their inability to speak English well) was once again recirculated.
Many actors who went into film after the decline of vaudeville in the 1930s (such as Lee Tung Foo, Lady Tsen Mei, and Harry Gee Haw) participated in creating those same stereotypes that their work in vaudeville had confounded.
The Mysterious Dr. Fu Manchu
The Return of Dr. Fu Manchu
Daughter of the Dragon
Warner Oland as Fu Manchu
Charlie Chan Carries On (1931)
Charlie Chan at the Circus
Charlie Chan in London
Charlie Chan in Paris
Charlie Chan in Egypt
Charlie Chan in Shanghai (1935)
Warner Oland as Charlie Chan
The Mask of Fu Manchu (1932)
Boris Karloff as Fu Manchu
The Mask of Fu Manchi (1932)
Myrna Loy as Fah Lo See
The Hatchet Man (1932)
Edward G. Robinson as Wong Low Get
J. Carrol Naish as Sun Yat Ming
Loretta Young as Sun Toya San
Dudley Digges as Nog Hong Fah
Leslie Fenton as Harry En Hai
Edmund Breese as Yu Chang
Tully Marshall as Long Sen Yat
Shanghai Express (1932)
Warner Oland as Henry Chang
The Bitter Tea of General Yen (1933)
Nils Asther as General Yen
Mr.Moto film series (1937-39)
Peter Lorre as Mr.Moto
The 1940s: World War II and Yellow Peril
At the height of anti-Asian sentiment during World War II, the United States imprisoned over 100,000 American citizens of Japanese descent in internment camps.
At the same time, the Japanese-American 442nd Infantry Unit was fighting in the European theater. These soldiers served with uncommon distinction, earning more combat decorations per man than any other unit in American history. Veterans returned home after the war to a country that was openly hostile to those of Asian descent.
This hostility was reflected in film and television, where clear stereotypes began to emerge defining ethnic lines of “good” Asians and “bad” Asians on film in response to Japan’s role in the Axis.
Predictably, Asian Americans actors would spend most of the war years cast as sinister Japanese, often in films now viewed with some embarrassment. There were still “good Asian” roles being written–but they were restricted to Caucasian actors while Asian Americans played the villains.
Little Tokyo (1942)
Harold Huber as Ito Takimura
Dragon Seed (1944)
Katherine Hepburn as Jade Tan
China Sky (1945)
Anthony Quinn as Chen To
The Chinese Ring through Charlie Chan and the Sky Dragon (1947-49)
Roland Winters as Charlie Chan
An examination of animation in this era is very revealing.
The depiction of Asians in propaganda demonstrates American attitudes at the time. These cartoons distill the imagery the entertainment industry wished to pass on to the children of this generation.
Popeye: You’re a Sap, Mr.Jap (1942)
Disney’s Der Fuehrer’s Face (1942)
Tokio Jokio (1943)
Bugs Bunny Nips the Nips (1944)
The 1950s: Post-War America
It was at this time that the term “yellowface” came into circulation. Although makeup and prostheses were employed with far less frequency by this time, people were taking notice that – in spite of an ever increasing number of Asian Americans in entertainment – lead Asian roles went to non-Asian performers.
Love is a Many Splendored Thing (1955)
Jennifer Jones as Han Suyin
The Conquerer (1956)
John Wayne as Genghis Khan
The Teahouse of the August Moon (1956)
Marlon Brando as Sakini
The King and I (1956)
Yul Brynner as King Mongkut
Rita Moreno as Tuptim
Ricardo Montalban as Nakamura
The Inn of the Sixth Happiness (1958)
Robert Donat and Curt Jurgens as the Mandarin and Colonel Lin
The 1960s/70s: Civil Rights Movement
Exclusionary immigration laws were lifted, anti-miscegenation laws were abolished nationwide, “Orientals” became “Asian Americans”. Still, yellowface (and brownface) continues to thrive.
Breakfast at Tiffany’s (1961)
Mickey Rooney as Mr.Yunioshi
A performance that really needs to be watched to be believed..
Lawrence of Arabia (1962)
Anthony Quinn as Auda ibu Tayi
The 7 Faces of Dr.Lao (1964)
Tony Randall as Dr.Lao
The Face of Fu Manchu / The Brides of Fu Manchu / The Vengeance of Fu Manchu / The Blood of Fu Manchu / The Castle of Fu Manchu (1965-69)
Christopher Lee as Fu Manchu
The Party (1968)
Peter Sellers as Hrundi V. Bakshi
Kung Fu (1972-75)
David Carradine as Kwai Chang Caine
Perhaps one of the most notorious examples of yellowface was the casting of the late David Carradine in a role originally conceived and envisioned for Bruce Lee.
Hollywood continues to produce new variations of old stereotypes for Asian American performers. Though the country has largely discarded the practice of blackface, the use of yellowface and brownface in Hollywood production continues to be the norm.
Charlie Chan and the Curse of the Dragon Queen (1981)
Peter Ustinov as Charlie Chan
Remo Williams: The Adventure Begins (1985)
Joel Grey (left) as Chiun
Short Circuit (1986)
Fisher Stevens as Ben Jabituya
Miss Saigon (1989-1999)
Jonathan Pryce as “The Engineer” a.k.a. Tran Van Dinh
Keith Burns as Thuy
In general, theatrical works require a greater suspension of disbelief than modern films. Additionally, the theater tends to enact colorblind casting in all directions – with minority actors having an equal opportunity to compete for a variety of roles.
However, Miss Saigon was a unique case that garnered massive controversy for its particularly blatant use of yellowface. The roles were originally performed with Pryce and Burns using prostheses to slant their eyes and bronzing cream to appear “Asian”.
The 13th Warrior (1997)
Antonio Banderas as Ahmad ibn Fadlan
As the country moved into the late 1990s, outright yellowface makeup became less common. However, it was still critical for Hollywood to maintain the status quo. In these cases, it was expedient to simply cast a white actor in ethnic roles:
Starship Troopers (1997)
Starship Troopers 3: Marauder (2008)
Casper Van Dien as originally Filipino Juan “Johnnie” Rico
The 2000s: America Today
Asians as extras-in-their-own-country syndrome ran rampant in film since a decade before, e.g. Come See the Paradise (1990) Seven Years in Tibet (1997), The Lost Empire (2001), The Last Samurai (2003), Tokyo Drift (2006), The Grudge 1 & 2 (2004 & 2006), etc.
Bulletproof Monk (2003)
Seann William Scott as (originally Tibetan American) Kar
I Now Pronounce You Chuck & Larry (2005)
Rob Schneider as Asian Minister
Rob Schneider’s Filipino grandmother notwithstanding, his portrayal of an “Asian minister” in this film was widely criticized. It was noted by Richard Roeper as “perhaps the most egregious stereotype of its kind since Mickey Rooney in Breakfast at Tiffany’s.”
Balls of Fire (2007)
Christopher Walken as Feng
Eddie Murphy as Mr.Wong
30 Days of Night (2007)
Josh Hartnett as (originally Inuit) Sheriff Eben
Jim Sturgess as Ben
Dragonball: Evolution (2009)
Few examples of modern yellowface are as notorious as the films 21 and Dragonball: Evolution. In 21, the story of real-life Asian American blackjack players was re-cast to feature white actors in every prominent role. Dragonball‘s Goku, the Japanese equivalent of Superman (an alien child lands on Earth, is raised by the native culture, and becomes adopted as the champion of his new home), was likewise whitewashed with the casting of Justin Chatwin.
Regardless of the ethnicity in the source material – whether mythological, fictional, or historical – Hollywood continues to enforce a glass ceiling for performers of color.
Prince of Persia: The Sands of Time (2010)
Jake Gyllenhaal as 6th century Persian prince Dastan
Gemma Arterton as “exotic Indian princess Tamina”
Tragically, the next decade will be heralded by a slew of summer films that perpetuates Hollywood’s systematic casting bias against performers of color. Prince of Persia will depict two Caucasian champions leading subjects of color and battling brown villains.
Genghis Khan (announced, 2013)
Mickey Rourke as Genghis Khan
Yellowface helps to ensure that top acting roles continue to fall into white hands. Asians and other minorities have become acceptable to see in small roles such as sidekicks, maids, war enemies, etc. It is rare enough that a good script is written that calls for an Asian in a leading role. When these scripts do arise, yellowface makes it acceptable for that role to go to a white person. Producers claimed that audiences didn’t want to look at an Asian lead for so long, or that there weren’t any qualified Asian actors.
– Peter Npstad
Western Visions: Fu Manchu and the Yellow Peril
There are enough minority actors and actresses for marginal or sinister characters – but Hollywood continues to insist it is difficult or impossible to find talented Asian American actors for positive, substantial roles. This is reflected in Paramount’s planned films for the 2010s. Of the studio’s announced films, 89% feature white leads. On a related note, a staggering 94% of planned leads are men, despite the fact that women make up 55% of American ticket sales.
Categories: History and Concepts, The Last Airbender
Tags: american indian, asian, asian american, avatar the last airbender, boycott, breakfast at tiffanys, charlie chan, controversy, film, fu manchu, inuit, m night shyamalan, miss saigon, movie, native american, nickelodeon, paramount pictures, prince of persia, protest, the last airbender, whitewashing, yellowface