Asian Hollywood Stereotypes

UNFAIR AND HARMFUL PORTRAITS OF EAST ASIANS

HHollywood is unfair and mischievous in its portrayal of Asians, research shows time and time again. Stereotypical and often contradictory characteristics are imposed on Asians. There are clear indications that these media characterizations are reinforcing misperceptions that are manifesting in real life like everything from covert discrimination to blatant racism. [1] [6]

Stereotypes have very real consequences for Asians living in the West in terms of day-to-day interaction, current events and government legislation. Upwardly mobile Asians find themselves hitting glass ceilings and earning far less than their white counterparts due to preconceived notions about their temperament, unreliability, innovation and poor leadership skills. [2] [3]

What was the last Hollywood blockbuster movie you saw? Chances are, it was embedded with negative Asian stereotypes. Chances are, you didn't notice.

Racism against Asians is often "surprise"—the form of racism that flies under the radar, due to its widespread acceptance as the norm. Its interactive dynamic resembles that of an unwritten social contract. Asians in the West are expected to accept condescending remarks and racist slurs so demeaning that the authors would think twice about serving them with such unwavering consistency with any other minority group such as Latinos or African Americans. Asians who oppose such treatment are typically met with bewilderment and offense at their audacity to make an issue out of it. The adverse reactions are, after all, a far cry from traditional media depictions of Asians as kowtowing in the face of denigration, as in Charlie Chan's character .

While stereotypes are virtually unavoidable in any form of storytelling, the crux of the problem is not that Asian stereotypes are used or that they occur frequently, but that negative Asian stereotypes are essentially the only Asian themes ever used in Hollywood and elsewhere. media.

Asian Hollywood actors revealed that they are, as a rule, channeled into narrowly defined subservient or subversive roles. [10] They are usually cast as foreigners rather than acculturated Americans; as strange and unfathomable beings bound by ancient tradition and surrounded by superstitions and bizarre habits. They are portrayed as sidekicks and extras, and either occupy supporting roles for Caucasian protagonists, or play the antagonist to a European protagonist. Asian characters often serve as cannon fodder or comic relief and have exaggerated accents (as with Long Duk Dong from Sixteen Candles or Mr. Yunioshi in Breakfast at Tiffany 's ).

Ten stereotypes almost exclusively used Asians in Hollywood and the media:

1. PERPETUAL FOREIGN

An Asian face or accent is used as a shorthand symbol for everything antithetical to American or Western culture. No distinctions are made between Asian Americans who are acculturated US citizens with deep roots in the country and Asian nationals who may not have any loyalty to the US. The media insinuation is that Asians (including US citizens) do not belong and cannot be from the US or the West.

Asian men are yet to be cast in a leading Hollywood role unless it is inseparable from their status as an alien with martial arts skills. Asians are cast as extras in non-speaking roles, like foreign tourists who walk around with cameras. Asian Americans are personified as having thick accents and speaking broken English. They are rarely portrayed as assimilated citizens, but as inherently foreign and un-American.

At best, Asian-American youth are portrayed as struggling with issues of cultural identity, as in the character Kim Lane from the television series, The Gilmore Girls and the various characters from the film, The Joy Luck Club.

Pressure by the MANAA has resulted in a small handful of TV shows (e.g. The Mentalist) abandoning perpetual-foreigner stereotypes in favor of placing Asian Americans in lesser support roles, as fluent English speakers sans accents. However, the Asian as Perpetual Foreigner remains the predominant screen portrayal of all the main characters who are Asian.

2. MARTIAL ARTS

Although the Asian-martial artist stereotype was derived from Asian actors such as Bruce Lee, Jacky Chan, Jet Li and Chow Yun Fat, these actors are/were in fact niche actors. As foreign actors trained in martial arts, they are/were essentially playing themselves —to the point that it seems to be lost among screenwriters, who habitually assign the kungfu-foreign role to Asians who are, in fact, neither expert foreigners. in martial arts. The implication is that all Asians are foreigners by default and inherently possess at least some degree of such fighting skills.

To add insult to injury, this stereotype is usually combined with stereotype 6: Inferior and subordinate to whites. Asian boxers with immense fighting skills are shown to be ultimately inferior to whites (or blacks), who can not only beat them them in their game, but are capable of winning knock-down-drag-out fights through endurance—a tremendous quality that Asians are portrayed as lacking. Despite their sheer ferocity, Asians are ultimately presented as being cowardly losers, screaming or defending in the face of pain or death. Examples are Lethal Weapon 4, etc.

3. MINORITY MODEL

Historically, Asians in North America were granted a provisional form of citizenship. They were classified as fellow immigrants alongside white settlers, but with far fewer rights. Legislation against Asian immigration has severely restricted their numbers. High rents and special taxes were levied, and laws were enacted to prevent them from owning and giving testimony in court. Racial atrocities were committed against Asian Americans with impunity. With no legal recourse available, their survival depended on keeping a low profile. The media was very happy to cooperate in this field. Despite their immense sacrifices to help build vital infrastructure such as the Transcontinental Railroad and agricultural irrigation systems in California, For more information, see the Anti-Chinese US-Racism and Discrimination of The Beginning.

Hollywood reflects this long tradition of powerlessness, relegating Asians to modest roles in non-threatening service professions, reinforcing the idea of faceless individuals better suited to go about their lives quietly. Specific occupations Ethno-stereotypically attributed to Asians include the physician, laboratory assistant or restaurant worker, the Japanese businessman (usually appearing in a group at a corporate board meeting), and occasionally the Chinese news anchorwoman reminiscent of Connie Chung. Stereotypes for older Asians they include the owner of a laundry or grocery store.

With the exception of rogue criminals who refuse to play by the rules (see archvillain stereotype below), Asians are cast as unassertive Conformists, sidekicks and helpers, but never as leaders or opinion leaders. They are also often cast as being successful and prosperous due to their diligence, or overachievers as neurotics with stunted emotional development (like their Asian American counterpart in the canceled TV series Pearl).

4. NERD / GEEK

Asians are often portrayed as being highly proficient in math and science, embodied in the nerd, geek, or scientist that is available to whites. This is epitomized in the role of a hardworking, laboratory assistant who dutifully talks about his/her task of serving the European protagonist in many television series.

Asians are also portrayed as extremely boring (to the point of bizarre, like the street fiddler in Spiderman II), as having very bad taste and an inability to understand American culture and nuances (as in the character Rajiv, in Big Bang Theory ).

5. GENDER RACISM

Can you name a movie where an Asian male consummates a relationship with a Caucasian woman? Gender racism is the intersection of both racism and sexism. It is based on the combination of gender identities and ethnic minorities imposed on Asians. [17] Hollywood is replete with images of the sexual Asian female and the asexual Asian male, and promotes sanctioned racial coupling - Asian females can mate with Caucasians, while Asian males cannot. Asian men are desexualized, while Asian women are fetchized. [18]

Hollywood Gender Racism and White Nativism

In Hollywood, Asian women are sexually available. They are expressed as exotic, feminine, sensual and portrayed either as a submissive China Doll or a seductive Dragon Lady fox, as in the roles of Lucy Liu in Ally McBeal and Angels of Charlie. In any stereotype of Asian female sexuality, she is sexually available to white (and occasionally black) men and an acceptable partner to white (and occasionally black) men, although she is often illegitimate and endangers the relationship. of the white man with his legitimate partner. If an Asian female is converted into a relationship with an Asian male, the Asian male is, as a rule, an abusive or incapable husband who ultimately loses her to a more deserving Caucasian. Asian women are often portrayed as subservient, accommodating, hardworking and ready to please. [7]

In the Madame Butterfly stereotype, the Asian woman is involved with a white man and chooses him as an Asian man, but ultimately has her heart broken by the white man (e.g. The World of Suzie Wong, where Chinese prostitute becomes falls in love with a white man only to lose him).

Asian men cast as "unattractive." The US media has a long history of presenting the Asian male as a eunuch - it's a persistent depiction that has transitioned to cinematic castration. [5] [8] Asian men are portrayed as either asexual, sexually inferior or effeminate according to Western notions of sexuality - never sexually desirable to females. There can be at most four cases in all of Hollywood history where a East Asian male has been allowed to consummate a relationship with a white woman. [4] [11] Asian men are almost never positively paired with women of any race. Asian men are often cast as being lonely and unattractive and resorting to deceit or breaking social protocol in their attempt to get a Caucasian woman in bed (as in Fargo).

Negative perceptions about the desirability of Asian men have real-life repercussions on relationships. Dating and marriage statistics indicate that in the US, considered the biggest melting pot in the world Asian males are far less desirable than Asian females. Asian men are among the least preferred partners of all other ethnicities in the US. [19] [20] [21]

AYI Statistical Map of Racial Gender Preferences

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2.4 million users of an online dating app reveal highly distinct heterosexual patterns of racial-gender preferences in the general population. While Asian men generally do not seek out Asian women, statistics on response rates also reveal that Asian women more strongly favor advances from white men. However, the discrepancy with Asian-Asian male-female-under marriage statistics is one of several indicators that Asian men generally partner with Asian women, due to a lack of

acceptance by other ethnicites. ( Daily Mail diagram )

Couples in the United States, 2010 (thousands)

	White wife	black wife	asian wife	Other Wife
White Husband	50,410	168	529	487
Black Husband	390	4072	39	66
asian husband	219	9	2855	28
Another Husband	488	18	37	568

The phenomenon is not isolatable to cultural dissimilation. Follow-up studies indicate that Asian male adoptees who were raised in Caucasian families with completely Anglo-Saxon environments encounter a lack of acceptance by Caucasian women. [19] [20]

6. INFERIOR AND SUBORDINATED

In numerous media depictions, Asians are shown to be inferior and subordinate to whites. They often demand ransom for a Westerner who has superior ideals of democracy and human rights, or a knight in shining armor who finally manages to convince them to transcend their stifling culture.

Asians serve as sidekicks and extras in roles supporting the Caucasian protagonists, or play the antagonist who ultimately loses the European protagonist. Asians are also shown to be cowardly and helpless in the face of danger. In action movies, Asian characters serve as cannon fodder and are the first to die.

They often willingly sacrifice themselves so that the European protagonist can live, which is an insidious way of suggesting that Asian life is not as valuable as white life or, more cynically, of claiming that the only good Asian is a dead asian.

In knock-down-drag-out fights they lose to whites (or blacks), who not only can do it better in terms of martial arts, but ultimately have the winning qualities that Asians supposedly lack: superior morals. and endurance.

When Asians are cast as being "on the same team", they are usually faceless, conformists, often unassertive assistants, and leaders never analysts or opinion leaders.

Perhaps most evil of all, are the countless films in which Asians serve as mere backdrops for the "greatest" story at hand, in which Asian contributions are set aside to highlight Pearl Harbor: great movie, touching history... but you left out the part about the 250,000 Chinese civilians who were killed in reprisal for harboring American crews

Pearl Harbor: great movie, touching history... but you left out the part about the 250,000 Chinese civilians who were killed in reprisal for harboring American crews

the achievements of "true heroes." Pearl Habor tells the story of Doolittle's daring comeback attack on Japan during WW2 and how pilots deliberately crashlanded into China, correctly assuming that the populace would help them to safety . -one-million who either involuntarily died or voluntarily became scarified as a consequence of harboring a few dozen American crews and bringing almost everything theirs them to safety are never mentioned in the end credits.

7. MYSTIC

The Asian Mystic's "Mysterious Orient" is an oft-recurring theme, in which Asians are portrayed as supernatural, mysterious, and spiritual, and take the form of a mystical sage who possess ancient wisdom and mystical powers, such as Pai Mei in Kill Bill. , The Golden Child Bulletproof Monk or the Chinese lady in what women want. However, Chinese "wisdom" is also reduced to fortune-cookie clichés.

"Asian" is often used as a quick, convenient, and unique explanation for the magical or supernatural. In various interpretations of The Shadow, the hero's special powers are said to originate from "the mysterious Orient"—no other explanation is needed. In Alice, an elixir purchased from an Asian herbalist carries magical powers.

Asian characters are also cast as being mysterious, to the point of inscrutable and deviant (see Bizarre Stereotype/Unfathomable), which ties in perfectly with the Archivillan Asian stereotype (see below).

The Asian mystical stereotype is also often combined with the archvillain Asian stereotype. This is epitomized in Fu Manchu, which embodies both the archvillain and mystic, and portrays Asian evil with supernatural powers. Recent use of this underworld stereotype includes The Shadow, in which a Caucasian actor in Yellowface embodies the anti-American archvillain who has hypnotic eyes and uses telepathy to control his mind.

8. ARCHIVILLON, DRAGON LADY OR PERIL YELLOW

The Asian archvillain is an extension of the Yellow Peril and Yellow Horde themes. Asians who are not characterized as benevolent or belonging to the face, conformist minority model, are paradoxically described as ruthless criminals, triad members and unscrupulous archvillains. Chinatowns are shown as breeding grounds for crime and underworld activity.

The Asian Predator remains a popular media topic. Asian immigrants are shown as having departed the country without giving anything in return. In Falling Down, the white protagonist accuses a Korean grocery store of depleting American resources without bothering to fit into American society, which is later used as justification for destruction. from the Korean grocery store. In Rising Sun, Japanese businessmen are shown to have taken over American industry for murder and hypocrisy.

The ultimate Asian "underworld" stereotype embodies both senses of the word: 1) organized crime and 2) the mythological abode of the dead. See above the section on the Asian mystical stereotype.

9. CARICATURE, BIZARRE &/OR UNFOUNDABLE YELLOWFACE

By the 1970s, the civil rights era had redefined how minorities should be portrayed in film. It was considered taboo for white actors to employ blackface to play the role of African savages (as in Tarzan). However, the same sensitivities were not applied to Yellowface. An important precedent was set when Warner Brothers rejected Bruce Lee in favor of Caucasian actor, David Carradine, to play the main character in the television series Kung Fu, a story about a Chinese orphan, which Lee had developed and presented to the producers.

Casting racialized Asians as caricatures persists into the 21st century. [9] White 's recent use of Yellowface to play the role of Asians includes Miss Swan in MADtv (2001), The Cat in the Hat (2003), Grindhouse (2007), Balls of Fury (2007), I Pronounce Them Husbands and Larry (2007), Bangkok Dangerous (2008), Crank: High Voltage (2009), Cloud Atlas (2012) and How I Met Your Mother (Season 9, aired in 2014).

Asians continue to be portrayed as hat cone coolies running about in small steps in commercials and films such as Down with Love (2003). They are also shown to be unfathomable, inscrutable and to subscribe to bizarre traditions and superstitions. Films based on the concept of Asian otherness and outlandishness in contrast to all things sane, wholesome, and North American or Western, include Lost In Translation (2003), in which the Japanese are never afforded an "ink of dignity" and all the comic content is derived from westerners laughing, "the little yellow people and their funny ways." [11]

The Asian bufoon continues to be featured in sitcoms such as 2 Broke Girls, in which Han Lee's character is a rather aggressive portrayal of the stereotypical Asian male: a small, greedy, sexless man-child with infantilized speech patterns, speaking broken English. with a generic Asian accent basically complied with every possible ching-chong stereotype. [16]

10. PROVISIONS / GOALS DESERVING OPEN DEFAMATION

In films, Asians are often subjected to open insults and discrimination, and are either potrayed as deserving of or highly tolerant of such treatment. These scripts and scenes are often so completely irrelevant to the plot that the only plausible explanation for their incorporation into the final edit is that it must be of great importance that Hollywood consistently remind audiences that it is perfectly acceptable to take a dig in Asians.

It could be argued that art imitates life or life imitates art, but many an Asian born in and/or living in the West will attest to the fact that their day-to-day real-life interactions are no different, thanks to Hollywood.

Asians in the West are expected to accept condescending remarks and racist slurs so demeaning that the authors would think twice about serving them with such unwavering consistency with any other minority group such as Latinos or African Americans. Asians who oppose such treatment are typically met with bewilderment and offense at their audacity to make an issue out of it. The adverse reactions are, after all, a far cry from traditional media depictions of Asians as kowtowing in the face of denigration, as in Charlie Chan's character .

Examples of open libel include Lethal Weapon IV [1998], the current television comedy, 2 Broke Girls, Crash [2004], the current television series, Shining, Kicking It Old School [2007], Revenge of the Nerds I & II [1984, 1987], Vengeance [2006], Ted [2012], Wanderlust [2012] and Year of the Dragon [1985].

CONCLUSION

Asians constitute nearly 5% of the US population one in twenty US citizens is of Asian descent, many of whom are fully acculturated "Americans". However, "Asian" continues to be equated with "foreign", and associated with a range of negative stereotypes.

Hollywood scripts continue to present open discrimination against Asians. Yellowface and cartoon portraits are on the rise in 2013, and an increasing number of actors are receiving accolades and prestigious nominations and awards for these humiliating performances.

Open defamation and racial slurs continue to be shown as the norm and Asians are portrayed as being accepting of such treatment.

Hollywood has yet to cast an Asian male into a leadership role that is not tied to his status as an alien or a martial artist. Although Lucy Liu was cast in a leading role in Charlie's Angels, she was portrayed as having a Caucasian father, and she continued to fulfill all the sexual stereotypes attributed to Asian women.

Asian American actors are yet to be cast in a lead role that is unrelated to their ethnic origin, a storyline that would work regardless of their ethnicity and that lack an explanation of their ethnicity—Asians should not be forced to. justify its presence in the West.

While there has been a slight improvement in trend over the past couple of years, Hollywood and the media have a long way to go toward being reasonable in their characterization of Asians—a complete overhaul would be in order. Hollywood and the media should take responsibility for the real-life consequences of their collective negative portrayals of Asians.

Asians in Western media don't look like Asians in real life. The immense popularity of PSY's Gangnam Style may be in part due to the wide acceptance of an Asian male comedy that is "buffoonish, desexualized and emasculated" in a "pop-cultural milieu where Asian men are either kung-fu fighters". , Confucius-quoting clairvoyants, or the biggest nerds in high school. "[13] [14] [15]

Footnotes:

Repetitive advertising increases market share and has an impact on brand awareness in the general public. Likewise, when stereotyped themes and images are shown repeatedly, either overtly or subliminally, they increase the general public's cognitive investment in the stereotype. Stereotypes are false or misleading generalizations about groups of detainees in a way that renders them largely, though not entirely, immune from reproof. Stereotypes have a homogenizing effect and powerfully shape the perception of stereotyped groups, causing stereotyped characteristics. of being "seen" even when they are not present, and the inability to see evidence to the contrary when such evidence is present.
- Stereotypes and Stereotypes: A Moral Analysis, by Lawrence Blum, Philosophical Papers Vol. 33, No.3 (Nov. 2004): p. 251-289,
In 1995, the federal government's Glass Ceiling Commission found that Asian Americans earn less money than whites in many occupational categories — even after controlling for educational attainment, immigrant status, and other variables. In strict social science terms, the data is robust: Asian Americans and whites are not treated equally and that difference can be attributed either to race or nothing at all.
A Longitudinal Test and a Qualitative Field Study of the Glass Ceiling Effect for Asian Americans -chen, Tina T. (Department of Psychology, Pennsylvania State University) (May 2004)
The handful of movies and TV shows (typically not Hollywood or mainstream American productions) that are an exception to the rule, that portray an Asian male as having consummated a relationship with a Caucasian woman, include:
i)   The One   [2001]   - Directed by James Wong, the film's main character, Yulaw (Jet Li), has a white woman, but he is not portrayed in a sexual light (there are no bedroom scenes) normally accorded to other Caucasian male actors.
ii)   The Ballad of Little Jo   [1993]  - The true story of a society woman who tried to escape the stigma of having a child out of wedlock in the late 1800s by going West and living undercover as a man. The historical film sticks to the truth about the secret romance that developed between her and a Chinese outcast named Tinman Wong, who discovered that she was indeed a woman.
iii)  Mao's Last Dancer   [2009]  -   Australian (non-Hollywood) film based on the autobiography of the same name, written by Li Cunxin. Probably due to the author's direct influence and   morals rights while ensuring strict adherence to his account of the story, the film faithfully re-enacts his relationships with and convenience in at least two Caucasian women in his life, both of whom he has married. iv)   The Mentalist   [2010] - Although Detective Kimberly Cho fills the traditional role of sidekick and a model minority citizen who silently talks about her business of serving and supporting Caucasians who lead and solve crimes, Cho is also shown to have a relationship with a Caucasian woman, albeit one who is a confused prostitute, and they eventually break up. Cho is also emotionally stunted to some degree and is inscrutable - still fitting perfectly within Asian stereotypes. V)   Ramen girl [1993] - The story alludes to (there are no actual bedroom scenes normally granted to Caucasian actors) a Japanese man as being romantically desirable and as having consummated a relationship with a Caucasian woman living in Japan. vi)   Shanghai Kiss  [1993] - One of the only United States (non-Hollywood production) films in which an Asian male is portrayed as sexually desirable and consummating a relationship with a Caucasian female—an act that is not just mentioned, but displayed on screen. Ken Leung plays the role of an unsuccessful Chinese American actor residing in Los Angeles who is sexually desirable and successful in one night, but who has relationship phobias and unintentionally gets (nonsexually) involved with an underage high school girl. Although the film sets the tone for confronting Asian male stereotypes, it subsequently fails in these respects, making its message clear by, in fact, perpetuating the stereotypes. vii)   Rising Sun  [1993] - Although a Japanese man is shown having sex with a Caucasian woman, he is a seedy character who is the epitome of the devouring Yellow Peril Asian Yakuza, and she is a professional escort aka high-end prostitute, whom he respects Japanese as "a woman doesn't matter." The sex involves auto-erotic asphyxiation, which initially appears to result in her death. The film highlights the dagerous and illicit nature of Asian men having sex with a Caucasian woman. NOTE: Many movies produced by Japanese actor   Sessue Hayakawa  in the silent film era he portrayed an Asian male as sexually attractive. In the early 1900s, Hayakawa, who was tired of typecasting, lent $1 million to a production company. He subsequently managed content, produced, starred in, directed, and contributed to the design, writing, and editing of films that were highly influential in the American audience's perception of Asians. Hayakawa refused to adopt negative stereotypes and abandoned Hollywood for European cinema, where he was treated equally. However, it should also be noted that Hayakawa was, at most, a reproduction of a   novel.  object - not a sex object. Hayakawa's popularity, romantic appeal, and extravagant lifestyle fueled tension within segments of American society and resulted in a backlash from discriminatory stereotypes and the desexualization of Asian men in American productions—something that persists in Hollywood today.
The Asian American Male Struggle to End Hollywood Genderization [Accessed: September 2012]
"For Asian men, the discourse of domination focused largely on the 'feminine' East opposed to the 'masculine' West. Historical projects that have impeded Asian American family formations and excluded Asian men from the 'masculine' labor market of the West, have simultaneously produced an image of Asian men that has both racial and gender implications... Additionally, popular media portrayals of more emasculated Asian and even Asian American men... at their best, effeminate closet queens like Charlie Chan and, in the their worst, [were] homosexual threats like Fu Manchu... Given this tendency to view Asian men through the prism of femininity "[. geisha of a different type:
Restrictive Representations of Asians in the Media and How to Balance Them - A MANAA Memo to Hollywood: ASIAN STEREOTYPES [Accessed 2007]
Ugly Betty and Entourage cast Asian men as flamboyant and castrated homosexuals.
Yellowface: Asians on White Canvas [Accessed September 2012]
Perpetuating the Yellow Peril - In These Times [Accessed September 2012]
Totally lost in translation - The Guardian, UK [Accessed September 2012]
"We've been portrayed as inscrutable villains and asexualized eunuchs. Even Jackie Chan in his movies rarely gets to kiss his female lead." - Actor Daniel Dae Kim, who played at least fifty roles on television and had never gotten to kiss a woman on screen until the ABC TV series, lost.
Is "Gangnam Style" a hit because of our Asian stereotypes?
What does it mean for Gangnam Style (a) United States? - Crystal Anderson, Assoc. Prof., Elon University Editor-in-Chief, KPK: Kpop Kollective editorialist / Asst. Chief Ed., Hellokpop
PSY and the Acceptable Asian Man
Yo, is that racist? 2 Broke Girls and a New Long Dong of Duk We Never Asked To
Social relations in post-industrial societies are both gendered and racialized, and gender identities are negotiated as part of a larger sociocultural framework that reproduces beliefs about racism, sexism, gender roles, and the relationships between genders and racial groups. (Parker, 2004).
In Western societies, the intersection of race and gender inequality creates certain structures that result in racial oppression that is gendered and gendered oppression that is racialized, in a process of gendered racism by which Asian females are made available to men. whites at the same time reaffirming the dominant position of white heterosexual masculinity This process is perpetuated by the mainstream media, where the scheme of gendered racism is promoted and produced. Exaggerated stereotypes of Asian females, such as hypersexuality, sexual availability, and submission, serve to perpetuate these racialized gender roles placed upon women of Asian descent in Western societies (Pyke, 2004).
Several dating sites deal with the subject of the difficulty of Asian men finding acceptance among Caucasians, for example: Dating 101: Dealing with the Racing Factor [web archive: last accessed Feb 2010]. Other data suggest the absence of a predominant preference for Asian women for Asian male partners. There is much to indicate that the discrepancy in marriage numbers between Asian men and Asian women arises primarily from the lack of acceptance of Asian men, and that the high values for Asian male-female pairing do not necessarily arise from a prevaling preference of Asian females to men. asians.
Approval Institute: Survey of Korean Adult Adoptees
Rules of Attraction: Why Men Marry White Women and Asian Asian Men Don't Marry White Women

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