Analyze either Crazy Rich Asians or Better Luck Tomorrow and how they resist or don’t resist the model minority/yellow peril stereotype.

1). Ono and Pham argue that
model minorities are still viewed as threatening. Explain their reasoning, its
gendered dynamics, and how this issue is explored in Better Luck Tomorrow. How
does the film successfully challenge stereotypes and what are some of its
limitations?

2). Ono and Pham assert that
there is a lack of representation of Asian Americans in the mainstream media
and that these representations have been dominated by “externalization.” Do you
think that films by and about Asian Americans can both enter the mainstream and
maintain an oppositional gaze? Why and how so? Analyze either Crazy Rich Asians
or Better Luck Tomorrow and how they resist or don’t resist the model
minority/yellow peril stereotype.

3). Analysis of both Crazy
Rich Asians and Better Luck Tomorrow focused on the idea of colonial mimicry,
or how Asian Americans mimic, satirize, and parody dominant white American
genres and cultural norms. Either focus on one film or compare and contrast how
the films apply mimicry, satire, and or parody. How do representations of race
and gender come into play?

4). Chen and Sugino argue
that Crazy Rich Asians is a (neo)liberal representation of Asians that
globalizes the model minority stereotype by applying the image to a
cosmopolitan and global Asian elite. Relate this seeming image of assimilation
to the stereotype’s participating in “racial triangulation” that Wu describes
with the privatization of inequality and the domestication of racial threat?
What is the same and what is changed in the globalization of the model minority
stereotype?

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