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Stereotypical Asian Hollywood

UNFAIR AND DAMAGE THE IMAGE OF EAST ASIAN PEOPLE

Hollywood is unfair and evil in its portrayal of Asians, research shows time and time again. Stereotypical and often contradictory characteristics are imposed on Asians. There are clear signs that such media characterizations are reinforcing misperceptions that are manifesting in real life because of everything from covert discrimination to overt racism. [1] [6]

Stereotypes have a very real impact on Asians living in the West in terms of day-to-day interactions, current events and government laws. The upwardly mobile Asians find themselves hitting the glass ceiling and earning far less than their white counterparts due to predecessors' perceptions of their temperament, lack of trust, innovation and poor leadership abilities. [2] [3]

What's the latest Hollywood blockbuster movie you've seen? Chances are, it has been embedded with negative Asian stereotypes. Chances are, you didn't notice.

Racism against Asians is often "surprise"—a form of racism that flies under the radar because of its widespread acceptance as the norm. The interactive dynamic resembles an unwritten social contract. Asians in the West are expected to receive derogatory remarks and racial taunts so degrading that the perpetrators will think twice before serving them out with such unwavering consistency to any other minority group such as Latinos or African Americans. Asians who object to such treatment are usually met with befuddlement and became frustrated and their courage to make an issue out of it. Side Effects is, after all, a far cry from the traditional media portrayal of Asians as kowtowing in the face of defamation, as in Charlie Chan's character.

Although stereotypes are almost inevitable in any form of storytelling, the crux of the problem is not that Asian stereotypes are used or that they often occur, but that negative Asian stereotypes are basically the only Asian themes ever used in Hollywood and other media.

Asian Hollywood actors have revealed that they are, as a rule, channeled into narrowly defined submissive or subversive roles. [10] They are usually dismissed as foreigners and not as Americanized; as strange and unpredictable creatures bound by old traditions and plagued by strange superstitions and habits. They are portrayed as sidekicks and extras, and either occupy a supporting role to the Caucasian protagonist, or play antagonistic to the Caucasian protagonist. Asian characters often serve as cannon fodder or comic relief and have overplayed accents (like with Long Duk Dong in Sixteen Candles or Mr. Yunioshi in Breakfast at Tiffany's).

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

1. PERMANENT FOREIGN CITIZENS

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

Asian men have yet to be cast in Hollywood's leading roles, unless it is inseparable from their status as foreigners with martial arts skills. Asia is cast as an extra in a nonspeaking role, as a foreign tourist walking around with a camera. Asian Americans personated as having a thick accent and speaking English. They are rarely portrayed as assimilated citizens, but as indeed foreign and non-American.

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

The pressure by which has caused a small handful of TV shows (for example The Mentalist) to abandon the permanent-foreigner stereotype in favor of placing Asian Americans in minor supporting roles, because of fluent English people sans accent. However, Asia remains Foreigner remains the main screen image of all the main characters who are Asian.

2. SELF-DEFENSE ARTS

Despite the stereotype of Asian martial-artists originating from Asian actors such as Bruce Lee, Jacky Chan, Jet Li and Chow Yun Fat, these actors are/are actually niche actors . As foreign actors born and trained in martial arts, they / basically play themselves dot -a which seems to be missing among scriptwriters, who usually give kungfu-foreigner roles to Asians who are not in actual foreigners or martial arts expert self .The implication is that all Asians are foreigners by default and indeed have at least some of those combat skills.

To add insult to injury, this stereotype is usually combined with stereotype 6: inferior to white people . Asian pugilists with great fighting skills will be shown as finally losing to white people (or black people), who can not only defeat them in their game, but are able to win knock-down-drag out fights through endurance-a sheer quality that Asians are portrayed as less. Despite their sheer violence, Asians are ultimately presented as boneless losers, whining or pleading in the face of pain or death. Examples are Lethal Weapon 4, etc

3. MINORITY MODEL

Historically, Asians in North America have been granted a tentative form of citizenship. They were classified as fellow immigrants with white settlers, but with far fewer rights. Legislation against Asian immigrants severely limited their numbers. High rents and special taxes were imposed, and laws were enacted to prevent them from owning property and from testifying in court. Racial atrocities have been committed against Asian Americans indiscriminately. With no legal action in place, their survival depends on keeping a low profile. The media is only too happy to cooperate in this. Despite their great sacrifices in helping to build important infrastructure such as the Transcontinental Railway and the agricultural irrigation system in California, the media filtered them out from receiving any credit for their contributions. For more information, refer to Anti-Chinese USA-Racism & Discrimination from the Beginning.

Hollywood reflects this long tradition of disempowerment by relegating Asians to modest roles in non-threatening service professions, reinforcing the idea of unknown individuals fit to carry on with their lives quietly. Stereotyped Ethno-specific jobs assigned to Asians include doctors, lab assistants or restaurant workers, Japanese businessmen (usually found in groups at corporate board meetings) and occasionally, Chinese news anchorwomen reminiscent of Connie Chung. Stereotypes for older Asians include the owner of a laundry service or grocery store.

With the exception of rogue criminals who refuse to play by the rules (see Archvillain stereotypes below), Asians are cast as unassertive conformists, sidekicks and helpers, but never as leaders or trendsetters. They are also often cast as successful and prosperous because of their craft, or overachievers as neurotics with stunted emotional development (like the Asian American classmate on the canceled TV sitcom, Pearl).

4. NERD / GEEK

Asians are often portrayed as very good at math and science, embodied in nerds, geeks or scientists who are at the disposal of whites. This is symbolized in the role of a diligent, obedient lab assistant going about his/her duties in serving the Caucasian protagonist in many television series.

Asia is also depicted as very cool (to the center of the weird, like the violinist in Spiderman II), as having a very poor taste and inability to understand American culture and nuances (as in the character of Rajiv, in The Big Bang Theory ).

5. RACIAL GENDER

Can you name a movie where an Asian man consummates a relationship with a Caucasian woman? Gendered racism is a cross between both racism and sexism. It is based on a combination of gender identity and racism imposed on Asians. [17] Hollywood is replete with images of sexualized Asian women and sexualized Asian men, and it promotes permissible interracial pairings - Asian women can mate with white people, while Asian men cannot. Asian men are desexualized, while Asian women are fetchized. [18]

Hollywood's gendered racism and white indigeneity

In Hollywood, Asian women are sexually available. They are cast as exotic, feminine, sensual and portrayed either as a submissive China Doll or a seductive Dragon Lady vixen, as in the role of Lucy Liu in Ally McBeal and Charlie Angels. In any stereotype of Asian women's sexuality, she is sexually to white (and sometimes black) men and an acceptable partner to white (and sometimes black) men, although she is often illegitimate and endangers people's relationships. white with his legal partner. If an Asian woman is dumped in a relationship with an Asian man, the Asian man is, as a rule, an abusive or incapable husband who ends up losing her to a more deserving Caucasian. Asian women are often portrayed as submissive, submissive, hardworking and eager to please. [7]

In the Madame Butterfly stereotype, an Asian woman is involved with a white man and chooses an Asian man, but ends up having her heart broken by a white man (for example The World of Suzie Wong, where a Chinese prostitute falls in love with a white man only lose him).

Asian men are cast as "unattractive." The US media has a long history of presenting Asian men as sycophants—it's a transgressive representation that has made the transition to cinematic assimilation. [5] [8] Asian men are portrayed as either gendered, sexually inferior or effeminate according to western notions of sexuality - never sexually appropriate for women. There are probably no more than four cases in the entire history of Hollywood, where an East Asian man was allowed to consummate a relationship with a Caucasian 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 deception or breaking social protocol in their quest to get a Caucasian woman in bed (like in Fargo).

Negative perceptions about the neediness of Asian men have a real impact on relationships. Dating and marriage statistics show that in the United States-considered the largest container in the world-Asian men are far better than Asian women. Asian men are among the least-chosen friends of all other ethnicities in the United States. [19] [20] [21]

AYI is a statistical Map of race gender preference

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LIKU selected on 2.4 million online dating application users revealed a very distinctive heterosexual pattern of racial gender preferences in the general population. Although Asian men generally do not get Asian women, the response rate statistics also show that Asian women most strongly favor leads over white men. However, the discrepancy with the Asian-man-Asian-woman marriage statistics below is one of several indications that Asian men generally partner with Asian women because of scarcity

acceptance by other ethnicities. (Image from Daily Mail)

Married couples in the United States, 2010 (thousands)

	White Wife	Black Wife	Asian wife	Another wife
White Husband	50410	168	529	487
Black husband	390	4072	39	66
Asian husband	219	9	2855	28
Another husband	488	18	37	568

This phenomenon is not isolated to cultural assimilation. Follow-up studies show that Asian male adoptees raised in Caucasian households with an entirely Anglo-Saxon environment face a lack of acceptance by Caucasian women. [19] [20]

6. POSITION LOWER

In many media portrayals, Asians will be shown as inferior to whites. They often need rescuing by the West that has superior ideals of democracy and human rights, or a horse in shining armor that finally manages to convince them to overcome their suffocating culture.

Asians become sidekicks and extras in supporting roles for Caucasian protagonists, or play antagonists who ultimately lose to Caucasian protagonists. Asia is 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 are often willing to sacrifice themselves so that the Caucasian protagonist will live, which is a dangerous way of suggesting that Asian life is not as valuable as white life or, more cynically, already asserting that the only good Asian is a dead Asian.

In a drag-out losing fight they lost the white man (or black man), who not only could do better in terms of martial arts, but ultimately had the winning qualities that Asians supposedly lacked, superior morals and resilience.

When Asians are cast as "on the same team," they are usually anonymous, unassertive conformists—often assistants and analysts—never leaders or trendsetters.

Perhaps most violent of all, are the countless films in which Asians serve as mere backdrops to the "bigger" story at hand, where Asian contributions are sidelined to highlight Pearl Harbor: great movie, touching story ... but you missed the part about the 250,000 Chinese civilians killed in retaliation for protecting the American aircrew

Pearl Harbor: great movie, touching story ... but you missed the part about the 250,000 Chinese civilians killed in retaliation for protecting the American aircrew

the achievements of the "real heroes." Pearl Habor tells the story of Doolittle's daring payback raid on Japan during WW2 and how the pilots were deliberately stranded in China, correctly assuming that the population would help them to safety. However, the quarter-of-a-million Chinese civilians who either accidentally died or willingly scarified themselves as a result of sheltering a few dozen American aircrews and bringing almost all of them to safety are never mentioned in the credits. ended

7. MYSTIC

The Mystic Asia from the "mysterious Orient" is a theme that often recurs, where Asians are described as inner, mysterious and spiritual, and take the form of a wise mystic who has the wisdom and mystical powers of the ancients such as Pai Mei in Kill Bill, The Golden Child bullet Monk or Chinese woman in What Women Want. However, Chinese "wisdom" is also reduced to cookie cutter clichés.

"Asia" often works as a quick, easy and exclusive magical or supernatural explanation. In various renditions of The Shadow, the hero's special powers are said to come from the "mysterious East"—no other explanation is necessary. In Alice, a cure bought from Asian herbs carries magical powers.

The Asian character is also thrown as a mystery to the center of the unknowable and cunning (see Strange stereotype / unexpected), which is closely related to the concept of the Asian Archivillan stereotype (see below).

The Asian Mystic stereotype is also often combined with the Asian Archvillain stereotype. This is inspired by Fu Manchu, who embodies both the archvillain and the mystic, and depicts an evil Asian with supernatural powers. Recent uses of this hellish stereotype include The Shadow, in which a Caucasian actor in yellowface embodies the anti-American archvillain who has eyes hypnosis and using telepathy to control the mind.

8. ARCHVILLAIN, DRAGON LADY OR YELLOW DANGER

The Archvillain Asia is an extension of the Yellow Peril and Yellow Horde themes. Asians who do not have the characteristics of being philanthropic or belonging to anonymity, the conformist model minority, are paradoxically depicted as brutal criminals, members of secret societies and irresponsible archvillains. Chinatown is like a breeding ground for crime and gang activity.

Asia Predator remains a popular media theme. Asian immigrants are like taking from this country without giving anything back. In Falling Down, the white protagonist accuses a Korean grocer of draining American resources without bothering to fit into American society, which is then used as justification for the destruction of a Korean grocery store. In Rising Sun, Japanese businessmen are taking over American industry with murder and fraud.

The ultimate Asian stereotypical "hell" combines both meanings of the word: 1) organized crime and 2) mythical abode of the dead. See above the section on Mystic Asian stereotypes.

9. CARICATURE, YELLOWFACE IS STRICT &/OR EXPECTABLE

By the 1970s, the civil rights era had redefined how minorities should be portrayed on film. It was considered taboo for a white actor to don blackface to play a wild African part (as in Tarzan). However, the same sentiment has not been applied to yellowface. A major precedent was set when Warner Brothers rejected Bruce Lee in favor of a Caucasian actor, David Carradine, to play the main character in the television series Kung Fu- the story of a Chinese orphan, which Lee himself developed and presented to the producers.

Casting Racialized Asians as caricatures still exist in the twenty-first century. [9] recent uses of yellowface by white people to play Asian parts include Miss Swan in MADtv (2001), The Cat in the Hat (2003), Grindhouse (2007), Ball of Rage (2007), I Now Say You Chuck and Larry (2007), Bangkok Dangerous (2008), Crank: High Voltage (2009), Cloud Atlas (2012) and How I Met Your Mother (Season 9, aired in 2014).

Asia continues to be portrayed as a cone-hatted porter scampering about in small steps in commercials and films such as Down with Love (2003). They also proved to be predictable, unknowable and to subscribe to strange traditions and superstitions. Films based on the concept of Asian abnormality and outlandishness are completely different from everything sane, healthy and American or Western, including Lost In Translation (2003), where the Japanese are never given a single "slice of dignity" and the entire comedy content comes from the West laughing " , the little yellow people and their funny ways." [11]

The Asian bufoon continues to appear in sitcoms such as 2 Broke Girls, where the character Han Lee is a rather aggressive portrayal of the stereotypical Asian man: a small, greedy, sexless boy with an infantilized speech pattern, speaking English with an Asian accent generic, fulfilling basically every possible ching-chong stereotype. [16]

10. BE READY / TARGET WORTHY OF OPEN DEFAMATION

In films, Asians are often subjected to open insults and discrimination, and either portray a deserving image or are very tolerant of such treatment. These scripts and scenes are often so completely irrelevant to the storyline that the only reasonable explanation for including them in the final edit is that it must be extremely important that Hollywood consistently reminds the audience that it is acceptable to take digs in Asia.

It can be said that art imitates life or that life imitates art, but many Asians who were born in and / or who live in the West will attest to the fact that their real-life interactions of their days are really no different, thanks to Hollywood.

Asians in the West are expected to receive derogatory remarks and racial taunts so degrading that the perpetrators will think twice before serving them out with such unwavering consistency to any other minority group such as Latinos or African Americans. Asians who object to such treatment are usually met with befuddlement and become dismayed at their audacity to make an issue out of it. Side Effects is, after all, a far cry from the traditional media portrayal of Asians as kowtowing in the face of defamation, as in Charlie Chan's character.

Examples of overt profanity include Lethal Weapon IV [1998], current television sitcom, 2 Broke Girls , Crash [2004], current television series, Shining, Kick It Old School [2007], Revenge of the Nerds I & II [1984, 1987] , Serafim Falls [2006], Ted [2012], Wanderlust [2012] and Year of the Dragon [1985].

CONCLUSION

Asians make up nearly 5% of the American population—one out of every twenty Americans is of Asian descent, many of whom are culturally fully "American." However, "Asian" continues to be equated with "foreign", and associated with various negative stereotypes.

Hollywood scripts continue to feature open discrimination against Asians. Yellowface and caricature portrayals are on the rise in 2013, and more and more actors are receiving prestigious awards and nominations and awards for this performance tarnishing the image.

Open profanity and racial slurs continue to be shown as the norm and Asia is depicted as receiving such treatment.

Hollywood has yet to cast an Asian man in a leading role that isn't linked to his status as a foreigner or a martial artist. Although Lucy Liu was cast in the lead role in Charlie Angels, she was portrayed as having a Caucasian father, and she continued to fulfill all the sexual stereotypes assigned to Asian women.

Asian American actors have not been cast in major roles unrelated to their ethnicity-a storyline that would work regardless of their race and which do not have an explanation of their ethnicity-Asians cannot be required to justify their presence in the West.

Although there has been a slight uptick in trends over the past two years, Hollywood and the media have a long way to go in the direction of reasonableness in their characterization of Asians—a complete overhaul would be in order. Hollywood and the media need to take responsibility for the real consequences of negative portrayals of Asians.

Asians in Western media do not resemble Asians in real life. The enormous popularity of PSY Gangnam Style may be partly due to the widespread acceptance of Asian male comedy that is "buffoonish, desexualized and castrated" in a "pop-culture environment where Asian men are either kung-fu fighters, Confucius-quoting clairvoyants, or the biggest geeks in high school. ” [13] [14] [15]

Footnote:

Repeated advertising increases market share and has an impact on brand awareness in the general public. Likewise, when stereotypical themes and images are shown repeatedly, either overtly or subliminally, they increase the public's cognitive investment in the stereotype. Stereotypes are false or misleading generalizations about groups held in a way that makes them largely, though not entirely, immune to counter-evidence. Stereotypes have a homogenizing effect and strongly shape the perception of stereotyped groups, causing stereotypic characteristics to be "seen" even if they are not present, and the failure to see evidence to the contrary, when that evidence is present.
- Stereotyping and stereotyping: A Moral Analysis, by Lawrence Blum, Philosophical Papers Vol. 33, No.3 (November 2004): p. 251-289,
In 1995, the Federal Glass Ceiling Commission found that Asian Americans made less money than whites in many job categories - even after controlling for education level, immigrant status and other variables. From a strictly social-science perspective, the data is robust: Asian Americans and whites are not treated equally and the differences can be attributed to either race or anything else.
A Longitudinal Test and Qualitative Study of the Glass Field Ceiling Effect for Asian Americans -chen, Tina T. (Department of Psychology, Pennsylvania State University) (May 2004)
A handful of movies and TV shows (usually not Hollywood or mainstream American productions) that are exceptions to that rule, which depict an Asian man 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 Caucasian wife, but she is not portrayed in the sexual light (no bedroom scenes) usually given to other Caucasian male actors.
ii)   The Ballad of Little Jo   [ 1993]   - The true story of a society woman who tries to escape the stigma of being pregnant out of wedlock in the late 18oos by going out West and living disguised as a man. The historical film sticks to the truth about the secret romance that develops between him and a Chinese exile named Tinman Wong, whom he portrays as actually a woman.
Iii)  Last Mao Dancer   [2009]  -   Australian (not Hollywood) film based on the autobiography of the same name, written by Li Cunxin. Perhaps because of the influence and directness of the author's   moral rights, ensuring strict compliance with his account of the story, the film faithfully re-enacts the relationship with and kindness by at least two Caucasian women in his life, both of whom he eventually married. Iv )   The Mentalist   [2010] - While Detective Kimberly Cho fulfills the traditional role of a model-minority accomplice and citizen who quietly goes about her business serving and supporting white men who lead and solve crimes, Cho is also shown to have relationships with Caucasian women, even people who wreck-up fishing boats, and they finally broke up. Cho is also emotionally stunted to a certain and unknowable level -. Still a neat installation in Asian stereotypes v)   Ramen Wanita   [1993] - a story that refers to (no actual bedroom scene that is usually given to Caucasian actors) a Japanese man as a natural romantic and as having consummated a relationship with a Caucasian woman who lives in Japan. vi)   Shanghai Kiss  [1993] - One of the only US (non-Hollywood production) films in which an Asian man is depicted as sexually desirable and consummating a relationship with a Caucasian woman-an act that is not only alluded to, but displayed on screen. Ken Leung plays the part of an unsuccessful Chinese American actor living in Los Angeles, who is sexually desirable and successful in a one night stand, but who has a phobia of relationships and accidentally gets (nonsexually) involved with an underage high school girl. Although the film sets the tone for confronting Asian male stereotypes, it later fails in these aspects, leaving its message unclear, in effect perpetuating the stereotype. Vii)   Rising Sun  [1993] - Although a Japanese man is shown as having sex with a Caucasian woman, he is a character of poor condition which is the epitome of consuming the Yellow Peril of the Asian Yakuza, and he is a professional escort aka a luxury prostitute, who takes Japan into account as "a woman of no importance." their sex involved autoerotic asphyxia, which at first seemed to cause his death. The film highlights the daguerreous and illicit nature of an Asian man who has sex with a Caucasian woman. NOTE: Most of the films produced by Japanese actor   Sessue Hayakawa   in the silent era portray a sexually attractive Asian man. In the early 1900s, Hayakawa, who was tired of typecasting, borrowed US $ 1 million to a production company. He later content controlled, produced, starred in, directed, and contributed to the design, writing, and editing of films that were not very influential in the public perception of Asian Americans. Hayakawa refused to adopt negative stereotypes and left Hollywood for European cinema, where he was treated equally. However, it should also be noted that Hayakawa is, at most, playing   a romance   object - not a sex object. Hayakawa's popularity, romantic appeal and luxurious lifestyle fed tension in segments of American society and resulted in a reaction to stereotypes of discrimination and desexualization of Asian men in American productions that still exist in modern Hollywood.
Asian American Men Fight to End Hollywood Genderization [Achieved: September 2012]
"For Asian men, discourses of mastery focus largely on the 'soft' East as opposed to the 'masculine' West. The historical project that has hindered Asian American family formation and excluded Asian men from the 'masculinized' labor market in the West, has simultaneously produced images of Asian men that have both racial and gender implications ... In addition, popular media further portray Asian castration and Asian American men until ... at best, their feminine closet queens are like Charlie Chan and, at worst, [ are] homosexual menaces like Fu Manchu ... Given this tendency to see Asian men through the prism of femininity "[. Geisha of a Different Kind: Asian Gay Men and the Gendering of Sexual Identity -Chong-suk Han, 2006]
Strict Portrayals of Asians in the Media and How to Balance Them - memo A from where to Hollywood: ASIAN stereotypes [Retrieved 2007]
Ugly Betty and Entourage cast homosexual Asian men prominently and codified.
Yellowface: Asia on White Screen [Accessed September 2012]
Keeping the Yellow Peril - In this Times [Accessed September 2012]
Completely lost in translation - The Guardian, UK [Accessed September 2012]
". We have been portrayed as unknowable villains and asexualized eunuchs. Although Jackie Chan in his films rarely gets to kiss his female lead." - Actor Daniel Dae Kim, who played at least fifty roles on television and never got to kiss a woman on screen until the ABC TV series, Lost.
Is "Gangnam Style" a hit because of our Asian stereotypes?
What does Gangnam Style mean to () the United States? - Crystal Anderson, Assoc. Prof., Elon University Editor-in-Chief, KPK: Kpop Kollective editor of / Asst. Chief Ed., Hellokpop
PSY And The Man Asia Acceptable
Yo, Is This Racist? 2 Broke Girls and New Long Duk Dong We never asked
Social relations in post-industrial societies are both gendered and racialized, and gender identity is negotiated as part of a larger sociocultural framework that reproduces beliefs about racism, sexism, gender roles and the relationship between gender and race (Parker, 2004).
In Western society, the intersection of race and gender inequality creates certain structures that cause gendered racial oppression, and racialized gender oppression, in a process of gendered racism in which Asian women are made available to white men while also confirming the dominant position of white heterosexual masculinity. This process is continued by mainstream media, where gendered racial schemas are promoted and produced. Exaggerated stereotypes of Asian women such as hypersexuality, sexual availability and submissiveness, serve to maintain these racialized gender roles imposed on women of Asian descent in Western society (Pyke, 2004).
Various dating websites address the subject of Asian men's difficulty finding acceptance among whites, for example: Dating 101: Dealing with the Race Factor [web archive: last accessed Feb 2010]. Other data show the absence of a current preference by Asian women for Asian male partners. There is much to show that the descrepancy in intermarriage figures between Asian men and Asian women arises mainly from the lack of acceptance of Asian men, and that the high figures for Asian men in pairs do not necessarily arise from the prevailing preference of Asian women for Asian men.
Adopt Institute: Investigation of Adult Korean Adoptees
The Law of Attraction: Why white men marry Asian women and Asian men don't marry white women

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