Question1

0outof0points

Ihavenotusedtheinternettoresearchanswersforthistest,norhaveIgivenor
receivedhelponthistest.AlloftheanswersIsubmitforthisexamaresolelymy
ownandwrittensolelybyme.

SelectedAnswer:

True

CorrectAnswer:

True

Question2
2outof2points

Whatisamiseenscene?
SelectedAnswer:
Screenspace
CorrectAnswer:
Screenspace
Response
Feedback:

TheCorrectAnswerisScreenSpace.
Miseensceneisessentiallyeverythingthatappearswithinthescreenspaceofa
filmandtheframeofthecamera. Film scholars, extending the term to film

direction, use the term to signify the directors control over what
appears in the film frame (156).

Question3
0outof2points

Typagerefersto:

SelectedAnswer:
Stereotypes
CorrectAnswer:
Socialcharacters
Response
Feedback:

TheCorrectAnswerisSocialCharacters.

In distinction to stereotypes of Hollywood film, Soviet cinema had

types of characters based on social class that was contrary to the
bourgeois stereotypes of Hollywood characterizations. In Soviet
cinema of the 1920s, several directors used a similar principle, called
typage. Here the actor was expected to portray a typical representative
of a social class or historical movement (Figs. 6.53, 6.54) (172).

Question4
0outof2points

Cinematicpropsare:
SelectedAnswer:
Itemsinfilms
CorrectAnswer:
Partofthesetting
Response
Feedback:

TheCorrectAnswerisPartoftheSetting.
Inmanipulatingashotssetting,thefilmmakermaycreatepropsshortfor
property.Whenanobjectinthesettinghasafunctionwithintheongoing
action,wecallitaprop(160).

Question5
2outof2points

Costumingandmakeupinthemiseenscenecanbe___
SelectedAnswer:
Alloftheabove
CorrectAnswer:
Alloftheabove

Response
Feedback:

ThecorrectanswerisAlloftheAbove.
Seepages16263forafulldescriptionofthefunctionofcostumeandmakeupin
film.

As one of the most important aspects of the mise-en-scene, costume

can have specific functions in the total film but its range of
possibilities is huge (162). Costume and make-up can attempt at
realism but there is also stylized qualities calling attention to their
purely graphic qualities such as in Eisensteins film Ivan the Terrible
where the attempt is not to realistically depict Russian aristocracy but
through exaggerated and stylized costuming and make-up to evoke a
sense of aristocratic degeneracy and tyranny. (Fig. 6.22)

Question6
2outof2points

WhendidtheChinesefirstentertheUSinlargenumbers?
SelectedAnswer:
Midnineteenthcentury
CorrectAnswer:
Midnineteenthcentury
Response
Feedback:

The correct answer is Mid nineteenth century.

However, large scale immigration did begin in earnest in 1852 when
52,000 Chinese arrived that year alone. Many Chinese came to the
United States not only to seek their fortunes but also to escape political
and economic turmoil in China. As gold ran out, thousands of Chinese
were recruited in the mid-1860s to help work on the transcontinental
railroad (11).

Question7
0outof2points

JapaneseAmericanswereinternedbecause
SelectedAnswer:
TheUSgovernmentreportstateditwasamilitarynecessity

CorrectAnswer:
Theywerearesentedminority
Response
Feedback:

ThecorrectanswerisTheywerearesentedminority.
MoretellingwasthefactthatJapaneseAmericansinthecontinentalUnitedStates
wereasmallbutmuchresentedminority.Despitegovernmentreportstothecontrary,
businessleaders,localpoliticians,andthemediafueledantagonismagainstthe
JapaneseAmericansandagitatedfortheirabruptremoval(17).Certainlythereare
complicatedreasonsbutneitherthemilitarysreportnoranyotherreportcitingthe
supposeddisloyalityofJapaneseAmericanssupportedtheirremoval.Theywere
smallerthantheJapaneseinHawaiiandthereforeitwaseasiertoremovethem,
especiallysincetherewasalreadygrowinghostilityagainstthem.California,even
priortoPearlHarbor,hadahistoryofantiAsianagitationandwhentheChinese
stoppedcomingandtheJapanesebecamethelargestAsianimmigrantgroup,laws
(suchastheAlienLandLawtopreventAsiansfromowningland)werepassedto
preventtheintegrationofJapaneseintheUS.

Question8
0outof2points

ManyAsianAmericansdidnotpassivelyaccepttheviolenceagainstthemnorthediscriminatorylaws
directedatthem.Whatlawbestexemplifiesthisinthecaseofcitizenshiprights?
SelectedAnswer:
Brownv.BoardofEducation
CorrectAnswer:
TakaoOzawav.US
Response
Feedback:

The correct answer is Takao Ozawa v. US.

Takao Ozawa was a Japanese American who wished to be naturalized
in 1922. This is one example of Asians protesting the 1790
Naturalization law but a significant one because it would determine, at
the national level, that Asians could not become citizens after all.
Second, the Court also ruled against Ozawas argument that Japanese
were actually nmore white than other darker-skinned white people
such as some Italians, Spanish, and Portuguese. The Court clarified the
matter by defining a white person to be synonymous with a person
of the Caucasian race (16).

Question9
2outof2points

OtherAsianAmericanexperienceswerejustasbadasJapaneseAmericansduringWWII
SelectedAnswer:

False

CorrectAnswer:

False

Response
Feedback:

Thecorrectansweris"False".
ComparedtotheJapaneseAmericanexperience,otherAsianAmericangroups
faredfarbetterduringandafterWorldWarII(18).Chinese,Filipinos,Koreans,and
AsianIndiansallfoundthattheywereabletoandwereencouragedbytheUS
governmenttoparticipateinthewareffort.WWIIhasbeencalledawatershedevent
becauseitclearlydefinedtheAsianAmericanswhowerethegoodandloyal
citizenstotheuntrustworthyanddangerousJapaneseAmericans.

Question10
2outof2points

HowmanywavesofSoutheastAsianrefugeemigrationswerethere?
SelectedAnswer:
Three:PreSaigon,FallofSaigon,andPostSaigon
CorrectAnswer:
Three:PreSaigon,FallofSaigon,andPostSaigon
Response
Feedback:

The correct answer is Three:PreSaigon,FallofSaigon,andPostSaigon.

Southeast Asian refugees entering the United States can be easily
divided into three distinct waves: the first wave arrived in the United
States in 1975 shortly after the fall of Saigon; the second wave arrived
between 1978 and 1980; and the third entered the Untied States after
1980 and continues to this day (27).

Question11
2outof2points

TheSalvadorRoldancaseprevented___
SelectedAnswer:
Filipinosfrommarryingwhites

CorrectAnswer:
Filipinosfrommarryingwhites
Response
Feedback:

ThecorrectanswerisFilipinosfrommarryingwhites.
(seelastfullparagraphofpage16)
SalvadorRoldanwasaFilipinomanwhowantedtomarryawhitewoman.Although
thelawsinCaliforniaspecificallystatedintheearlytwentiethcenturythatthoseof
negro,mulatto,orMongoloid(16)wereforbiddentomarrywhites,Roldanargued
thathedidnotfitanyoftheseracialcategoriesasaFilipinobutwasderivedfromthe
Malayraceinstead.Whilehewonhiscase,theCaliforniaStatelegislatureamended
theantimiscegenationlawtoincludetheMalayraceshortlyaftertheRoldan
decisionwasannounced(16).

Question12
2outof2points

WhatwasthereasonfortheincreaseofAsianimmigrantsafter1965?
SelectedAnswer:
1965ImmigrationandReformAct
CorrectAnswer:
1965ImmigrationandReformAct
Response
Feedback:

The correct answer is 1965 Immigration and Reform Act.

The US passed the 1965 Immigration Reform Act that would
significantly [increase] the token quota established after World War II
to allow the Eastern Hemisphere a maximum of 20,000 per country,
and set a ceiling of 170,000 (22). This law radically changed the
effect of over 50 years of immigrant exclusion of Asians (1882
Chinese Exclusion Act and following it, the litany of exclusions
directed at specific Asian ethnic groups: Japanese, Filipinos, and Asian
Indians).

Question13
0outof2points

TheJapanese,Filipinos,andAsianIndiansarrivedaroundthesametimeastheChineseintheUS.
TrueorFalse?

SelectedAnswer:

True

CorrectAnswer:

False

Response
Feedback:

The correct answer is "False".

See pages 11-13 for a description of Japanese, Filipino, and Asian
Indians. There were smaller numbers of Asian Indian and Korean
immigrants to the US. While Filipinos comprised a large population as
well, this did not occur till after the US took the Philippines in 1898
when the country became a commonwealth, thereby allowing Filipino
nationals to enter the US freely. The Japanese came as early as the
Chinese but they did not settle first in the US mainland, but in
Hawaii. Later, around the turn of the twentieth century and into the
first three decades of Chinese exclusion (1882-1920s), the Japanese
would be the largest Asian immigrant entering the US.

Question14
2outof2points

AccordingtoStamandShohatsTheImperialImaginary,whatistheonepowerfultoolthatthe
cinemahaswhichthenovelandprintdoesnothavetogivetheviewerasenseofpowerand
narcissism(eg.,egocentricity)?
Selected
Answer:

Thegazeandtheabilitytopositionviewersinspecificpositionsof
empowerment

CorrectAnswer:
Thegazeandtheabilitytopositionviewersinspecificpositionsof
empowerment
Response
Feedback:

ThecorrectanswerisThegazeandtheabilitytopositionviewersinspecific
positionsofempowerment.
[The]cinemaentailedanewandpowerfulapparatusofthegaze.(103)
Byprostheticallyextendinghumanperception,theapparatusgrantsthespectator
theillusoryubiquityoftheallperceivingsubjectenjoyinganexhilaratingsense
ofvisualpower(103).

Question15
2outof2points

InthefilmdiscussionofWildGeese(1978),ShohatandStam(ImperialImaginary)describeitas
emblematicofthelateimperialistfilminwhichimperialismisonitsdecline.Whatofthefollowingis
notpartofShohatandStams(ImperialImaginary)descriptionofkeynarrativesinthelate
imperialistfilm?
SelectedAnswer:
TheCrusades
CorrectAnswer:
TheCrusades
Response
Feedback:

ThecorrectanswerisTheCrusades.
TheCrusadesistheonlynarrativethatisnotpartofthediscussionofeitherWild
Geeseorthelateimperialistfilm.
Thefilmadroitlycamouflagesitsracism,however:atokenBlackisincludedinthe
mercenaryforce...[and]andmassacresseemmorepalatablewhentheperpetrators
areintegrated(122).Thelateimperialistfilmalsoattemptstorevisehistoryby
callingforthecolonizerstoforgivethewhitepast.Inaddition,StamandShohat
comparethelateimperialfilmtowesterns.Theybothhavesimilarpremisesabout
savageracialothersandthenecessarycivilizinginterventionofwhites.

Question16
2outof2points

InStamandShohatsessay,TheImperialImaginary,onemastertropeofEuroamericancinemais
thatofnationhood.Howdoescinemagivethesenseofnationhoodandnationalbelonging?
SelectedAnswer:
Bypresentingthefictiveunityofindividualswhoallliveinthesamenation
CorrectAnswer:
Bypresentingthefictiveunityofindividualswhoallliveinthesamenation
Response
Feedback:

The correct answer is Bypresentingthefictiveunityofindividualswhoall

liveinthesamenation.

The nation of course is not a desiring person but a fictive unity

imposed on an aggregate of individuals, yet national histories are
presented as if they displayed the continuity of the subject-writ-large
(101). In replacing, to some degree, novels and newspapers, cinema
gives the people of a nation the sense that they belong to the same
nation/country. Hence, this is why the idea of nation is an imagined
community according to Benedict Anderson (101). Euroamerican
cinema taps into this sense of sameness in belonging, that people

become citizens and identify with the nation, and out of it films about
Europes empires and Americas Indian wars tap into this sense of
belonging. Further, as Shohat and Stam show, nation is sometimes
ethnically and racially specific.

Question17
2outof2points

AccordingtoStamandShohat(ImperialImaginary),howdidtheGulfwarnarrative(intheUS
networkscoverageofthefirstGulfwar)empowertheUSviewertoberighteousandallseeing?
SelectedAnswer:
Alloftheabove
CorrectAnswer:
Alloftheabove
Response
Feedback:

The correct answer is All of the above.

See pages 125-26 for a full description of the Gulf war coverage and
how it empowered viewers. The similarity between watching the war
coverage and playing a video game is in the all-seeing eye. In both
cases, the viewer at home could be the gazer while s/he is invisible to
others. In short, the viewer is the conquering gaze from nowhere
(125). The spectacle of lights and explosions absent of bloody
causalities made the war less embodied, evoked less empathy from its
viewers. Viewers become detached from the reality of killing and
perceive, instead, the war as virtual. Last, it became a feel-good war
because of the ways media coverage and war propaganda helped to
[mobilize] atavistic passions, as televisual spectatorship became
deeply implicated in an attempt to corral multiethnic spectators into a
jingoistic communalism (126).

Question18
2outof2points

InStamandShohats(ImperialImaginary)dominantwesterncinema____(fillinblank).
SelectedAnswer:
Alloftheabove
CorrectAnswer:
Alloftheabove

Response
Feedback:

ThecorrectanswerisAlloftheabove.
[D]ominantcinemahasspokenforthewinnersofhistory,infilmswhich
idealizedthecolonialenterpriseasaphilanthropiccivilizingmissionmotivatedby
adesiretopushbackthefrontiersofignorance,disease,and
tyranny.Programmaticallynegativeportrayalshelpedrationalizethehumancostsof
theimperialenterprise(109).

Certainly, given this perspective, the last thing western cinema would
portray is the colonizeds point of view which would unravel the
mythic narrative of the civilizing mission and white mans burden.

Question19
2outof2points

AccordingtoGinaMarchettisessayTheThreatofCaptivity,TheBitterTeaofGeneralYenwas
notreceivedwellintheBritishCommonwealthbecauseof.
SelectedAnswer:
Theinterracialromance
CorrectAnswer:
Theinterracialromance
Response
Feedback:

The correct answer is The interracial romance.

Although in many ways The Biter Tea of General Yen is a very
traditional captivity narrative, the interracial liaison treated by the
narrative created sufficient controversy to have the film banned in
Great Britain and the Commonwealth at the time of its release (50).

Question20
2outof2points

InGinaMarchettisexplanationoftheunderlyingtropesstructuringthefilmsShanghaiExpressand
TheBitterTeaofGeneralYen,shedrawsfromLeviStraussstheoryofkinship.Whichoneofthe
followingreasonsexplainshowwomenareusedwithinthekinshipsystem?
SelectedAnswer:
Womenstrengthensocialbondsasobjectsofexchangebetweenmen
CorrectAnswer:
Womenstrengthensocialbondsasobjectsofexchangebetweenmen

Response
Feedback:

ThecorrectanswerisWomenstrengthensocialbondsasobjectsofexchange
betweenmen.
Theexchangeofwomenisshorthandforexpressingthatthesocialrelationsofa
kinshipsystemspecifythatmenhavecertainrightsintheirfemalekin,andthat
womendonothavethesamerightseithertothemselvesortotheirmale
kin(47).Women,therefore,representobjectsofexchangeandalsosymbolizethe
necessityofexchangetomaintainalliancesandsocialbonds(47).AsMarchetti
goesontoexplaininthisparagraph,thesocialbondsthatwomenrepresentonbehalf
ofthefamily/communityalsocontributestothefamily/communityscultural
integrityandanimplicitfeelingsofsuperiorityoverthosefromothercultures(47).

Question21
2outof2points

InthefilmBitterTea,GinaMarchetti(ThreatofCaptivity)suggeststhatMegansdreamatYens
palacesymbolizes...
SelectedAnswer:
Megansconflictbetweendesireandracialrepulsion
CorrectAnswer:
Megansconflictbetweendesireandracialrepulsion
Response
Feedback:

ThecorrectanswerisMegansconflictbetweendesireandracialrepulsion.
InapsychoanalyticreadingoftheMegansdream,Yenisalternatelyhersavior(in
thewhitesuitasaknighterrant)andasanevilwarlord(asaFu
Manchu/Nosferatu/Vampiretype).Yenis,atleastinMegansmind,bothofthese
charactersbutherdesire/repulsionforthetwoYenssymbolizeherownconflictof
herracialandmoralcodes/ethicsandsensuality.
TheBitterTeaofGeneralYensstruggleseemstobeaninternalonebetween
sensualityandmoralrighteousness.Race,atleastforthemoment,seemsalmost
secondary,since

Megans dream indicates that Yen fulfills all the roles for her. He
functions as her savior from the threatening aspects of sexuality, the
guarantor of the blissful promises of the safety of true love and as
the dark force of sexuality unchecked (54).

Question22
0outof2points

AccordingtoGinaMarchettisessayTheThreatofCaptivity,fromthebeginningofthefilm,Bitter
TearecallsearliertropesandnarrativeswithinAmericanhistory.Whichisit?
SelectedAnswer:
Manifestdestiny
CorrectAnswer:
Theprotectionthecolony
Response
Feedback:

The correct answer is Theprotectionthecolony.

The image seems clichd the light-filled American home in the
midst of a dangerous, alien world outside the door, the homestead
assaulted by Hollywood Indians, the pioneer family on the plains, the
plantation families in Africa, Asia, or Latin American an image that
visually represents American values forged in the wilderness (51).

Question23
2outof2points

AccordingtoGinaMarchetti(ThreatofCaptivity)andmanyfilmtheorists,JosefvonSternbergs
films(ShanghaiExpress)areconsideredexoticmelodramasbecauseofhiscinematictechniques.
Why?
SelectedAnswer:
Thevisualstyleofthefilmandthenarrativeareatoddswitheachother
CorrectAnswer:
Thevisualstyleofthefilmandthenarrativeareatoddswitheachother
Response
Feedback:

The correct answer is Thevisualstyleofthefilmandthenarrativeareat

oddswitheachother.

Like many of von Sternbergs other films set in distant lands,

Shanghai Express can be looked at as an exotic melodrama in which
style and narrative are sometimes at odds ideologically
(59). Marchetti goes on in this paragraph to describe how style and
narrative are at odds with each other in specific film shots. For
example, the on-screen relationship between Doc Harvey and Lily are
flat and unemotional, yet Sternbergs visual style of hyper-charging
the visual field seems contradictory to the flattened emotions
displayed by both characters.

Question24

2outof2points

AccordingtoGinaMarchettisessayTheThreatofCaptivity,intheShanghaiExpresswhyisthe
EurasiancharacterChangsuchathreat?
SelectedAnswer:
Heistheepitomeofracialandculturaldifference
CorrectAnswer:
Heistheepitomeofracialandculturaldifference
Response
Feedback:

ThecorrectanswerisHeistheepitomeofracialandculturaldifference.
ThepuzzleofChangsracialandethnicidentityseemstospillovertoincludehis
sexualidentity.Changstandsastheemblemoftheideologicalquestionof
difference.NeitherAsiannowhite,homosexualnorheterosexual,hispotentialthreat
comesasmuchfromhisexistenceoutsidethedistinct,hierarchicalboundarieson
whichEuroamericansocietyisbasedasitdoesfromthefactthatheisavicious
warlord(64).

Question25
2outof2points

AccordingtoChristinaKlein(FamilyTiesasObligation)whatwasthepoliticalagendaofthe
ChristianChildrensFundsofAsianadoption?
SelectedAnswer:
Topreventcommunismandatomicwarfare
CorrectAnswer:
Topreventcommunismandatomicwarfare
Response
Feedback:

The correct answer is Topreventcommunismandatomicwarfare.

The advertisement invokes the twin paralyzing anxieties of the Cold
War communism and the atomic bomb---only to offer an easy
solution. It concludes by inviting the reader to adopt a child for ten
dollars a month in any of the fourteen countries in which the CCF runs
orphans The advertisement invites the reader to save herself from
atomic warfare, and the child from communism, by extending the
American family out into the world (154).

Question26
2outof2points

AccordingtoChristinaKlein(FamilyTiesasObligation),AmericasfearofMomismduring
WorldWarIIchangedovertothefearof_____duringpostWorldWarII.Fillintheblank.
SelectedAnswer:
Whitemanism
CorrectAnswer:
Whitemanism
Response
Feedback:

The correct answer is Whitemanism.

By 1957 Wylie shifted his critique away from Momism and toward
whitemanism: -- that is, racism as the source of the nations
vulnerability. Like so many other contemporary political observers,
Wylie condemned racism for alienating the colored people of the world
whose alliance the U.S. needed (170).

Question27
2outof2points

AccordingtoChristinaKlein(FamilyTiesasObligation),SouthPacificcreatedbyOscar
Hammersteinwasenvisionedasanantiraciststory,trueorfalse?
SelectedAnswer:

True

CorrectAnswer:

True

Response
Feedback:

The correct answer is True.

South Pacific uses much of its dramatic energy to repudiate American
racism and to establish love as the only force capable of eradicating it
(163). Like Micheners story, Rodgers and Hammersteins musical
rendition of South Pacific hopes to uncover US racism in hopes of
reeducating Americans about their sin of prejudice. In fact, for
Rodgers and Hammerstein, it is love that fully repudiates racism.

Question28
2outof2points

AccordingtoChristinaKlein,whatwasOscarHammersteinslifelongpoliticalcommitment?
SelectedAnswer:
Alloftheabove
CorrectAnswer:
Alloftheabove

Response
Feedback:

The correct answer is All of the above.

Hammerstein was devoted to all of the above choices Popular Front
politics (which was anti-fascist) and antiracism (through his efforts at
writing complex characters for people of color in the industry in plays,
musicals, and scripts). See pages 179-81.

Question29
0outof2points

ChristinaKleinarguesthatduringpostWorldWarIIera,Americanmiddlebrowintellectualsand
writersbelievedthattheUnitedStateslackofobligationtoAsiawastheresultof______
SelectedAnswer:
NotunderstandingAsianculture
CorrectAnswer:
ThefactthatfewAmericanscantracetheirdescendantsfromAsia
Response
Feedback:

The correct answer is ThefactthatfewAmericanscantracetheir

descendantsfromAsia.

Henderson, Michener, and Isaacs each cast the problem of political

obligation to Asia as a problem of family: Americans did not feel
bound to Asians because they had rarely belonged to the same families
and thus shared few of the ties of culture, religion, and language that
families knit across oceans and generations. All three men saw
immigrant families as incubators of knowledge about the world, and
saw the small numbers of these families as part of Americas problem
in Asia (145).

Question30
2outof2points

InMarcettisessayTragicandTranscendentLove,whoisfounddeadatthebeginningofThe
CrimsonKimono?
SelectedAnswer:
Stripper
CorrectAnswer:
Stripper
ResponseFeedback:

The correct answer is Stripper.

See page 146. She works at a burlesque theater.

Question31
2outof2points

InthefilmSayonara,thedoublesuicideofKellyandKatsumiwouldseemtoprovidesocial
commentaryaboutracismandclassism.ButaccordingtoGinaMarchetti,theresultofthedouble
suicideintherestofthefilmreallyshowswhat?
SelectedAnswer:
Howdeathcanbetragicallyaestheticized
CorrectAnswer:
Howdeathcanbetragicallyaestheticized
Response
Feedback:

The correct answer is Howdeathcanbetragicallyaestheticized.

The absurdity of the suicide is never voiced. Rather, in keeping with
the traditions of the Western melodrama, it is simply presented as
tragic, reified as fate. In fact, the film aestheticizes the double
suicide by first introduction the idea in a Bunraku puppet performance
featuring two doomed medieval lovers, the Japanese equivalents of
Shakespeares Romeo and Juliet (139).

Question32
0outof2points

InMarchettisTragicandTranscendentLove,thefilmTheCrimsonKimonouses_____difference
asawaytoavoidtalkingabout_____difference.Fillintheblanks
SelectedAnswer:
identity/racial
CorrectAnswer:
aesthetic/racial
Response
Feedback:

Thecorrectanswerisaesthetic/racial.
Inorderforthefilmtomaintainanideologicalequilibriumthatwillneitherallow
foranexpressedracismnoraradicalcallforcompletedesegregation,this
displacementfracialontoaestheticconcernsbecomescrucial(149).

This call to look at Joes and Chriss relationship as a romance

between two kindred souls rather than as a romance between Japanese

man and an Anglo-American woman also brings to the surface further

challenges to the American social order that must be dealt with or
suppressed (150).

Question33
0outof2points

AccordingtoMarchettisTragicandTranscendentLove,critiquesofAmericanracismtoward
AsiansandespeciallyJapaneseAmericansareerasedinthefilmsdepictionof________
SelectedAnswer:
Kendomatch
CorrectAnswer:
Alloftheabove
Response
Feedback:

ThecorrectanswerisAlloftheabove.
JoemisinterpretsCharliescommentabouthisrelationshipwithChris(Youmean,
youregoingtomarryher)asracist.Buthediscoverslaterthatitwaspersonal
anger(perhapsoverlossfriendship)ratherthanracism.Thisrealizationcomesafter
hekillsRomaandsheconfessestopersonaljealousy.Last,CharliebrutallybeatsJoe
duringthekendomatch,bringingoutthelatentracismofthefilm.Despitehow
assimilatedJapaneseAmericansare,theycanstillbeanimalsandsavages(justasthe
JapanesewereduringWorldWarII).

Having already established Joe as bit off during the kendo match, the
film uses ever means at its disposal to guide the viewer to interpret
Charlies remark as personal anger rather than racial bigotry (156).

Question34
2outof2points

AccordingtoMarchetti(TragicandTranscendentLove),evenwhileSayonaraenvisionsracial
acceptanceofJapaneseandAsians,therepresentationsofHanaOgiandKatsumi(asJapanese
women)are
SelectedAnswer:
Alloftheabove
CorrectAnswer:
Alloftheabove

Response
Feedback:

The correct answer is All of the above.

Moreover, although Sayonara attempts to criticize racism, the film, as
it shores up traditional gender definitions, also sticks to accepted
stereotypes about Asians, particularly Asian women, as passive,
childlike, and servile. Moreover, the passive Katsumi seems to act as a
metaphor for the defeated Japan (134).

Question35
0outof2points

AccordingtoGinaMarchettis(TragicandTranscendentLove)readingofSayonara,any
ideologicalcritiqueofthemilitaryandtheKoreanWarbecomesrelegatedtoLloydGruvers______
(fillintheblank).
SelectedAnswer:
RelationshipwithEileen
CorrectAnswer:
Oedipaldilemma(overhisoverlydemandingfather)
Response
Feedback:

ThecorrectanswerisOedipaldilemma(overhisoverlydemandingfather).
AlthoughSayonaraseemstoasktobereadasanantiwarfilm,therealityofthe
KoreanWarandthecontroversyitgeneratedarequicklyplacedonthebackburner
(128).

Even the vaguest questioning of the morality of the Korean War

becomes here simply the expression of an Oedipal dilemma, thereby
personalizing antiwar sentiments as rebellions against the father more
than the military establishment he represents (129).

Question36
2outof2points

AccordingtoWilliamWei,someAsianandPacificIslandersarenotaswellrecordedwithinAPA
history.WhoareconsideredtheForgottenAsianAmericans?
SelectedAnswer:
FilipinoandKoreans
CorrectAnswer:
FilipinoandKoreans

Response
Feedback:

ThecorrectanswerisFilipinoandKoreans
ItbegantheForgottenAsianAmericansproject,anationaloralhistoryproject
supportedbya$125,000grantfromtheDivisionofSpecialProgramsofthe
NationalEndowmentfortheHumanities(62).

Question37
0outof2points

DuringtheearlyperiodoftheAsianAmericanMovement,artistsandfilmmakersbelievedthat
SelectedAnswer:
Artmustbeaestheticfirst
CorrectAnswer:
Artmusteducateandinform
Response
Feedback:

Thecorrectansweris:Artmusteducateandinform
ThepoliticalapproachemphasizedtheAsianAmericanartistsmoralresponsibility
tothecommunityandthesocialpurposeofanartistswork.Forsomecultural
activities,thismeantthatAsianAmericanwriters(aswellasotherartists)should
serveasculturalambassadorsandbeartheburdenofspeakingfortheirpeople
(64).

Question38
0outof2points

AccordingtoWilliamWeishistoryofAsianAmericanActivisminartandhistory,oneofthefirst
majorexhibitsshowcasedbyTheNewYorkChinatownHistoryProjectwasstoryabout
SelectedAnswer:
The8lb.Livelihood
CorrectAnswer:
Alloftheabove
Response
Feedback:

Thecorrectansweris:Alloftheabove

NYCHPisprobablybestknownforitsexcellentexhibitsonvariousaspectsof
communitylife,especiallythoselessstudiesandunderstood,suchasthelivesof
laundryandgarmentworkers...InDecember1984,NYCHPopeneditsfirst
exhibit.,EightPoundLivelihood:HistoryofChineseLaundryworkersintheU.S.
(59).

Question39
0outof2points

In

Stephen Gongs A History of Progress, about the Asian American media arts
movement, what is the difference between media/television and the media arts?
SelectedAnswer:

Media arts refers to art and media/T.V. is commercial

CorrectAnswer:

Media arts is alternative and Media/T.V. is mainstream

Question40
0outof2points

Since

the 1990s, the most successful and probably well-known Asian American
media arts center is:
SelectedAnswer:
Visual Communications
CorrectAnswer:
National Asian American Telecommunications Association

Question41

2outof2points

While Visual Communications began in ______ , Asian CineVsion was founded in ______

SelectedAnswer:
Los Angeles.

. . New York

Los Angeles.

. . New York

CorrectAnswer:

Question42
17outof20points

ShortEssay(10points):Youshouldwriteforatleast10minutes.Yourproductshouldbeatleast12
paragraphslong.
Pleaseanswerthefollowingessayquestionasthoroughlyaspossible.Itisimportantforyouto
referencetheideascoveredinthereadingsandlectures.Inwritingyouressay,youmustuserelevant
andconcreteexamples.Youressayshouldexhibitanorganizationasifyouarewritinganessay.In
otherwords,partofyourgradewillbebasedonhowyoupresenttheseideas,logicallyand
coherently.Refrainfromskippingaroundandgivingasummaryorlistofideas.Last,youmustwrite
incompletesentencesandwatchforgrammarandspelling.
HowdoHollywoodrepresentationsofAsianmenandAsianwomendifferfromeachother?Describe
andgiveexamplesofhowAsianwomenandAsianmenarerepresentedintheclassicHollywood
film.Describethehistoricalandculturaloriginsoftheserepresentations.
Selected
Answer:

Correct
Answer:

IbelievetheAsianmanandwomenarebothpresentedwrongfully,buttheydohave
theirdifference.WhilewatchingBitterteaofGeneralYen,themovieportraysGeneral
Yenasanevillookingman.Theypresenthimasbeingbarbaricwithhisoldlifestyle
andIbelievethiscausesfeartoAmericans,astheproducersintended.TheAsian
womeninclassicHollywoodmoviesarepresentedasmoreaggressivesexualladies.
TherehasalsobeenportraysofanAsianwomenbeingpleasingtoaman.Theywould
doanythingtheysayandservethem,whichintriguedmanymen.Alloftheseportrayals
arestereotypesbutsincethen,wehavegottenbetteratportrayingAsians.
[None]

Response [NoneGiven]
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