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The titles that fed this growing movement suggest the possibility of a canon that can coexist with Asian American cinema’s more anticanon impulses, which continue to this day. This national festival circuit became an informal distribution network and bestowed the films awards.
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Whereas an earlier generation of sporadic feature filmmaking (Wayne Wang’s “Chan Is Missing” in 1982, Mira Nair’s “Mississippi Masala” in 1991, Ang Lee’s “The Wedding Banquet” in 1993) found audiences primarily in the mainstream art house circuit, this later wave of films fed a nationwide hunger of Asian Americans to see themselves reflected onscreen and on their own terms. Meanwhile, Asian American film festivals in Chicago, San Diego, Washington, D.C., Seattle, Boston, Philadelphia, Austin and elsewhere emerged to promote and exhibit these new works. in San Francisco provided institutional support for feature films. Panels and funding opportunities organized by Visual Communications in Los Angeles, Asian CineVision in New York and the National Asian American Telecommunications Assn. However, following the so-called “Class of 1997” when an unprecedented number of feature films premiered at the San Francisco International Asian American Film Festival (including Rea Tajiri’s “Strawberry Fields” and Quentin Lee and Justin Lin’s “Shopping for Fangs”), a wave of self-consciously Asian American films with an eye on national audiences burst onto the scene. In later decades, Asian American film and video explicitly explored image-making too experimental, too queer, too resistant to labels to comfortably assemble into a neat corpus. In fact, early films, like those made by Visual Communications in the 1970s, existed to undermine the notion of canons altogether, agitating from the margins against a mainstream that could never understand or assimilate its cultures or politics. True, Asian American cinema has long had a testy relationship with canons. But surely, observers asked, there had to have been Asian American films since “The Joy Luck Club” even if Hollywood didn’t deliver them? The same tentative excitement surrounded Netflix’s “Always Be My Maybe” this year: If this wasn’t the first Asian American rom-com, then what was?Ĭlearly, it’s time for a canon, a set of films that fans can debate, but which make undeniable that Asian American cinema exists and elicit some consensus about their quality and cultural impact. “The first Asian American film from a major Hollywood studio in 25 years.” That was the mantle carried by “Crazy Rich Asians” when it arrived in 2018.