Getting fired from a soap opera may have been the turning point in Wayne Wang’s life and career. In 1974, Wang had returned to his native Hong Kong, armed with a graduate degree in film from the California College of Arts and Crafts in Oakland. He landed a gig at Royal Television Hong Kong (RTHK), one of the city’s biggest studios, and found himself in the company of such fellow new wave filmmakers as Tsui Hark, Ann Hui, and Allen Fong. Wang recalled: “We were all young with ‘We’re going to change the world’ attitudes
On July 15th, Film Quarterly brought together filmmakers and scholars of Asian-American film and media for an urgent and dynamic webinar discussion of the spate of (renewed) violence against AAPI peoples.
On June 5th, Brian Hu and FQ editor B. Ruby Rich moderated a virtual roundtable on Asian American filmmaking in New York during the 1980s and 1990s. With FQ special dossier contributors Roddy Bogawa, Shu Lea Cheang, Daryl Chin, Vince Schleitwiler, and Rea Tajiri.
On May 22, Brian Hu and FQ’s editor B. Ruby Rich moderated a virtual conversation celebrating fifty years of Asian American film. With FQ special dossier contributors Lan Duong, Viola Lasmana, Josslyn Luckett, Melissa Phruksachart, and Oliver Wang.
Today, there are celebrations taking place across U.S. universities. The creation of Asian American studies centers and departments fifty years ago was the culmination of an effort by students, administrators, and community members to reorient American history, to engage directly in their communities, and to promote Asian American faculty research and hiring. By 1968, there had been at least three generations of Chinese, Filipinos, and Japanese in the United States, many engaged in profound political work, but what was new about the late sixties was the creation and institutionalization of a collective, pan-ethnic voice known as Asian America.