Disney Plus missed the opportunity to expand in Australia. Initially, Marvel fans thought they would have to watch Shang Chi on the platform. However, Australia ended its long lockdown a month before the digital release. After catching up with friends at their favorite cafes and restaurants, Selina Lin can finally see her work in the cinema. She worked as a production assistant for Shang-Chi and the Legend of the Ten Rings (Shang Chi) and is a senior studying media, public relations and advertising at the University of New South Wales.
Shang Chi is Hollywood’s first Asian American superhero movie. But, its significance is more than a milestone. Some aspiring Asian American actors and actresses say Shang Chi inspires them to feel optimistic about future career opportunities. Cinematic arts schools across the country are hearing these young voices and figuring out how to better support them through diversity, equity, and inclusion policies.
Before Shang Chi, Asians were often performed by white actors. Famous examples include Luise Rainer as O-Lan in 1937 film The Good Earth and Mickey Rooney as Mr.Yunioshi in 1961 film Breakfast at Tiffany’s. This phenomenon continues today. In 2016’s Doctor Strange, Tilda Swinton played the Ancient One. One year later, Scarlett Johansson played Motoko Kusanagi in Ghost in the Shell. These acts of white-washing often leave exaggerated impressions of Asians on the audience and cause scarcity in Asian American representation.
Asians who did appear in movies were often protected by a white savior. In Wolverine, the white hero saves a Japanese man from a nuclear bomb. In other occasions, Asians are the evil masterminds, including the earlier version of Shang Chi. Shang Chi’s father Fu Manchu is a villain and threat to the Western World in the original comic. Recent version transformed him into Xu Wen Wu, a villain who has a soft side when it comes to what he values deeply - family.
This adjustment marks the beginning of an authentic Asian American narrative that has been missing in the U.S. film industry. In front of the camera, Asian Americans make up less than 10% of speaking characters. Behind the scenes, less than 4% of Hollywood directors are Asian Americans. Even though Destin Daniel Cretton, who has Japanese heritage, directed Shang Chi, the majority of Marvel movie directors are white - the Russo brothers, Cate Shortland and Jon Favreau to name a few.
Selina Lin says she is satisfied by the cultural, casting and artistic aspects of Shang Chi.
The film begins with a long Chinese conversation, and one line stood out to Lin. “我吃的鹽以你吃的米還多”. While the direct translation is “I've eaten more salt than the rice you have eaten,” the implied meaning is “I have more experience than you, young man,” Lin explained. The authentic usage of Chinese in the film means a lot to her. “It really shows how much directors and writers care about the making of the story,” she added.
Growing up in Hong Kong, Lin was also excited to see Hong Kong based actors and actresses such as Tony Leung, Fala Chen and Michelle Yeoh in Shang Chi. “It is like the older, iconic Asian actors paving the way for the next generation, who is Awkwafina, Simu Liu and Meng’er Zhang. I think the casting is perfect,” she said.
Lin was also a translator for martial artist Yuen Wah who played Master Guang Bo in Shang Chi. While working with him, she learned that Shang Chi hired people from Jackie Chen’s stunt team and most of the actions derived from Chinese martial arts. Others are from Bruce Lee films and created just for Shang Chi. Although, some worry that it will continue the “Asian” stereotype. To Lin, people should not restrict the application of martial arts to only Asians. “Martial art is for everyone to learn. It is fun, as long as they stay true to the value and the discipline of the art,” she said.
Shang Chi’s combination of ten rings and martial arts sets him apart from other superheroes whose primary power is supernatural. In fact, martial art is seen as more powerful than the ten rings. Ying Li, Shang Chi’s mother, specialized in martial arts and is the only person who can beat Wen Wu. In the film, the ultimate goal is to resolve conflict, which aligns with the fundamental goal of martial arts.
At the University of Southern California (USC), sophomore theatre major Eunice Ahn is expecting more auditions on her schedule after watching Shang Chi. “I definitely feel like because of that, I am not afraid to audition for the main roles that you would expect other races, like white people, that is normally the main character,” she said. Ahn pointed out that Asian Americans can be more than the main character’s best friends now.
Despite her optimism, Ahn is still experiencing limitations at USC. Under the School of Dramatic Arts, Ahn would audition for opportunities at the School of Cinematic arts. But, she can not audition for most of the roles. “All the roles are not for Asians...It specifically says which race, which is frustrating. That really narrows down what I can audition for in the first place,” she said.
Inclusive casting policy does exist at the School of Dramatic Arts (SDA), according to Anita Dashiell-Sparks. She is the Associate Dean of Equity, Diversity & Inclusion and the Co-Head of Undergraduate Acting. “Directors are expected and encouraged to cast narratives with diverse actors across identities for our shows unless the playwright stipulates that show should be cast in a particular way due to the content and context of the story,” she elaborated on the policy.
“We are committed to enhancing Asian American representation through our recruitment and retention of talented students, faculty, and staff…Made a commitment to feature and support Asian American artists through panels, performances, and workshops."
– Anita Dashiell-Sparks, Associate Dean of Equity, Diversity & Inclusion (SDA)
Although the department respects creators’ opinions, they established policies that will help balance everyone’s demand. Dashiell-Sparks mentioned over email that several changes occured in the 2020 - 2021 academic year. The Casting Collective was created to increase representation of faculty who are involved in audition and casting. Directors are diversified for productions, and the Undergraduate Literary Committee now owns the power to select inclusive plays. For example, Body of Faith, Everybody and The Seagull.
Changes have just been made, and students have yet to experience the impacts. Meanwhile, SDA organizations will continue to keep the conversation going. “[The] Institute of Theater and Social Change will continue to create space for interactive theater as a tool for disrupting systems of power and privilege, address inequities, and foster healing and reconciliation,” Dashiell-Sparks said. She also noted that all arts schools at USC are collaborating to promote Asian American and other BIPOC representation.
“SCA is uniquely positioned to play a leadership role in preparing the next generation of media producers and scholars to critically engage with issues of diversity and build inclusive creative and scholarly communities within media industries and academia.”
– School of Cinematic Arts Diversity & Inclusion Statement
Chicago’s Northwestern University applies color-blind casting, a practice that does not limit the race of the character, in classrooms. Theatre Professor Henry Godinez told The Daily Northwestern that color-blind casting allows students to think of the role of race and ethnicity in theatre in an unconventional manner that fosters empathy among different individuals.
Some public institutions like the University of Utah enforce color conscious casting policy where the race and ethnicity of the actors and characters are put into consideration. The goal, according to the University statement, is to “oppose racism, honor and respect cultures, foster stronger productions, and contribute to a more equitable world”.
The lack of opportunities for Asian Americans, and underrepresented groups can be traced back to the mid-19 century. White actors would paint their faces black and play African American characters in a mocking manner at minstrel shows.
Would color-blind casting and color conscious casting policy assuage the struggle for Asian American actors? Some say having good stories is more effective than not seeing color. Actress Rosalind Elezar, who has white British and Ghanaian heritage, told The Guardian that filmmakers have a misconception that people of color are not relevant characters until recently. In other words, people of color did not exist in the past. The article pointed out that the issue is more complicated than expected. “True representation involves a lot of self-interrogation: why write this character, why write this story?”
Diversity is about more than casting. Behind the scenes, there are few female Asian American directors and producers. Interestingly, the prominent directors who have Asian backgrounds, such as Ang Lee, Bong Joon Ho and Chloé Zhao, all have roots outside of the country. Lee is from Taiwan (China), Bong is from South Korea, and Zhao is from mainland China.
USC Annenberg School for Communication and Journalism Professor May Lee says USC should be doing more. “USC is known for its film school, so they should be leading the way when it comes to pushing for diversity, when it comes to pushing for a variety of storytelling, including a variety of different characters from different backgrounds, from different ethnicities, from different genders,” she said.
Lee also see a broader impact of Shang Chi on SCA students, people in film production industry and the audience. “We still see this in Hollywood. There are certain roles for a certain type of people. But, the beauty of movies like Shang Chi and others with diversity and representation is that it is starting to break that mold,” she said. Traditionally, the superheros have been either a white male or white female. For example, Iron Man, Spider-Man and Black Widow. Since 2018, superheros can be the Black Panther and Shang-Chi. “Now, with more introduction of different, diverse backgrounds, you start getting the audience used to seeing this,” Lee added.
Superhero is not the only role Shang Chi plays in the movie. He is also a parking valet, which is not a stereotypical Asian American character. “Once you normalize these characters, coming from diverse backgrounds, then they no longer are having to play stereotypical characters. They can just be people who happen to be Black, or who happen to be Asian, instead of playing the stereotype of that particular race or ethnicity,” Lee commented on how Hollywood and cinematic arts institutions could evolve in the future.
Across the Pacific Ocean, Shang Chi has yet to reach the China market. In China, there is an unofficial domestic film protection month from either June to July or July to August. It is often mistaken as the “Hollywood blackout” month. The National Radio and Television Administration has not announced Shang Chi’s release date, and Hollywood films have historically rearranged their release dates in China for the unofficial policy. In 2004, Spider Man 2 appeared in the Chinese theatre two months after its release in the North American market. The Devil Wears Prada was released eight months after its initial release.
Tairong Lou, Peking University Movie Club member, expects the Chinese audience to have a different response than Asian Americans. “Marvel’s target audience are young people, and young people in China are aware of Shang Chi’s racist history. This past will continue to influence how they perceive the film,” he said. Lou also encourages the global audience to look beyond political hostility. “Since a few years ago, we have seen a global rise in nationalism. Everyone is more focused on their country’s benefits and is being aggressive towards others,” he added.
Hollywood and cinematic arts institutions will continue to combat the issues of stereotypes and hostility among diverse individuals and groups domestically and internationally. Lou offers the industry another solution. “The magic of movies is to make dreams. If possible, Hollywood should create films that are away from reality and full of creative elements. That way, the Chinese audience could forget about the hostility for two hours,” he said.
Given the increasing awareness of diversity, equity and inclusion in the cinematic arts world since the release of Shang Chi, it seems that Shang Chi’s influence will follow the audience outside of the theaters. Even though there is still a long way to go for Hollywood and cinematic arts school, Shang Chi’s authentic portrayal of Asian Americans and its determination to change and professionalism make it extra powerful when reflecting on why representation matters.