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Yellow Future
Oriental Style in Hollywood Cinema
Jane Chi Hyun Park
University of Minnesota Press, 2010
Yellow Future examines the emergence and popularity of techno-oriental representations in Hollywood cinema since the 1980s, focusing on the ways East Asian peoples and places have become linked with technology to produce a collective fantasy of East Asia as the future. Jane Chi Hyun Park demonstrates how this fantasy is sustained through imagery, iconography, and performance that conflate East Asia with technology, constituting what Park calls oriental style.

Park provides a genealogy of oriental style through contextualized readings of popular films-from the multicultural city in Blade Runner and the Japanese American mentor in The Karate Kid to the Afro-Asian reworking of the buddy genre in Rush Hour and the mixed-race hero in The Matrix. Throughout these analyses Park shows how references to the Orient have marked important changes in American popular attitudes toward East Asia in the past thirty years, from abjection to celebration, invisibility to hypervisibility.
 
Unlike other investigations of racial imagery in Hollywood, Yellow Future centers on how the Asiatic is transformed into and performed as style in the backdrop of these movies and discusses the significance of this conditional visibility for representations of racial difference.
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Yellow Journalist
Dispatches from Asian America
William Wong
Temple University Press, 2001
"For three decades, William Wong has been America's most energetic and entertaining chronicler of the Asian diaspora and its effects on politics, culture, business, sports, dress, diet, and language. Like other great humorists, he exposes the painful absurdities that plague each new wave of immigrant families as they enrich the national character, from Wong's own adventurous parents to Tiger Woods. Some of these pieces offer surprising insights on geopolitics and others explore the legal and social consequences of racial discrimination, but my favorites are the playful essays, including the classic 'So That's Why I Can't Lose Weight.' " --Jay Mathews, Washington Post reporter and columnist, and author of Class Struggle Who are Asian Americans? Are they the remnants of the "yellow peril" portrayed in the media through stories on Asian street gangs, unscrupulous political fundraisers, and crafty nuclear spies? Or are they the "model minority" that the media present as consistently outranking European Americans in math scores and violin performances? In this funny, sobering, and always enlightening collection, journalist William Wong comments on these and other anomalies of the Asian American experience. From its opening tribute to the Oakland Chinatown of Wong's childhood to its closing tribute to Tiger Woods, Yellow Journalist portrays the many-sided legacies of exclusion and discrimination. The stories, columns, essays, and commentaries in this collection tackle such persistent problems as media racism, criminality, inter-ethnic tensions, and political marginalization. As a group, they make a strong case for the centrality of the Asian American historical experiences in U.S. race relations. The essays cover many subjects, from the personal to policy, from the serious to the silly. You will learn a little Asian American history and a lot about the nuances and complexities of the contemporary Asian American experience. If there is an overriding theme of these stories and essays, it is the multi-faceted adaptation of ethnic Asians to the common American culture, the intriguing roles that they play in our society, and the quality of their achievements to contribute to a better society. Bill Wong's high school journalism teacher took him aside during his senior year and told him he would have to be "twice as good" to succeed at his chosen profession. Succeed he did, and "twice as good" he is. As Darrell Hamamoto remarks in his Foreword, "'Chinaman,' Chinese American, Asian American; any way you slice it, Bill Wong is one straight-up righteous Yellow Man." "One of the advantages of having a writer of Bill Wong's talent around is that we don't have to depend upon intermediaries and go-betweens to give us insights about issues affecting Asian-Americans. He is often entertaining, and ironic, but underneath it all is a serious mind devoted to shattering myths about one of our fastest growing minorities." --Ishmael Reed, author of The Reed Reader "It is about time that America meet William Wong--an icon in journalism whose experience as a second generation Chinese-American has given him a unique lens through which life in America can be examined. For almost two decades, his columns in the Oakland Tribune and other San Francisco bay area newspapers have captured a different kind of reality about some of our most important social, cultural, and political moments. Wong's readiness to share his family, his community, and his conscience allows readers to cross a bridge into the world of Asian America. Whether it is an analysis of the 1996 campaign finance scandals or a perspective on how parent pressures and bi-cultural conflicts can play out in a young Asian American teen's life, Wong's skillful weaving of humor, irony, and poignant portrayals of the circumstances make each story linger long past the final sentence of his essay." --Angela E. Oh, Lecturer/Former Advisory Board Member, President's Initiative on Race "...an anthology of Wong's best writing from the last decade and a half, covering an impressive array of topics and tone." --Asianweek
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Yellow Light
The Flowering of Asian American Arts
Amy Ling
Temple University Press, 2000

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Yellow Power, Yellow Soul
The Radical Art of Fred Ho
Edited by Roger N. Buckley and Tamara Roberts
University of Illinois Press, 2013
This dynamic collection explores the life, work, and persona of saxophonist Fred Ho, an unabashedly revolutionary artist whose illuminating and daring work redefines the relationship between art and politics. Scholars, artists, and friends give their unique takes on Ho's career, articulating his artistic contributions, their joint projects, and personal stories. Exploring his musical and theatrical work, his political theory and activism, and his personal life as it relates to politics, Yellow Power, Yellow Soul offers an intimate appreciation of Fred Ho's irrepressible and truly original creative spirit.
 
Contributors are Roger N. Buckley, Peggy Myo-Young Choy, Jayne Cortez, Kevin Fellezs, Diane C. Fujino, Magdalena Gómez, Richard Hamasaki, Esther Iverem, Robert Kocik, Genny Lim, Ruth Margraff, Bill V. Mullen, Tamara Roberts, Arthur J. Sabatini, Kalamu ya Salaam, Miyoshi Smith, Arthur Song, and Salim Washington.

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Yellowface
Creating the Chinese in American Popular Music and Performance, 1850s-1920s
Moon, Krystyn R.
Rutgers University Press, 2004

Music and performance provide a unique window into the ways that cultural information is circulated and perceptions are constructed. Because they both require listening, are inherently ephemeral, and most often involve collaboration between disparate groups, they inform cultural perceptions differently from literary or visual art forms, which tend to be more tangible and stable.

In Yellowface, Krystyn R. Moon explores the contributions of writers, performers, producers, and consumers in order to demonstrate how popular music and performance has played an important role in constructing Chinese and Chinese American stereotypes. The book brings to life the rich musical period of the late nineteenth and early twentieth centuries. During this time, Chinese and Chinese American musicians and performers appeared in a variety of venues, including museums, community theaters, and world’s fairs, where they displayed their cultural heritage and contested anti-Chinese attitudes. A smaller number crossed over into vaudeville and performed non-Chinese materials. Moon shows how these performers carefully navigated between racist attitudes and their own artistic desires.

While many scholars have studied both African American music and blackface minstrelsy, little attention has been given to Chinese and Chinese American music. This book provides a rare look at the way that immigrants actively participated in the creation, circulation, and, at times, subversion of Chinese stereotypes through their musical and performance work.

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