Midterm APA 345

7/24/2019 Midterm APA 345

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Question 1

0 out of 0 points

I have not used the internet to research answers for this test, nor have I given or

received help on this test. All of the answers I submit for this exam are solely my

own and written solely by me.

Selected Answer:True

Correct Answer:True

Question 2

2 out of 2 points

What is a mise-en-scene?

Selected Answer:

Screen space

Correct Answer:

Screen space

Response

Feedback: The Correct Answer is Screen Space.

Mise-en-scene is essentially everything that appears within the screen space of a

film and the frame of the camera.Film scholars, extending the term to film

direction, use the term to signify the directors control over what

appears in the film frame (156!

Question 3

0 out of 2 points

Typagerefers to:


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Selected Answer:

Stereotypes

Correct Answer:

Social characters

Response

Feedback:The Correct Answer is Social Characters.

"n distinction to stereotypes of #ollywood film, $oviet cinema had

types of characters %ased on social class that was contrary to the%ourgeois stereotypes of #ollywood characteri&ations! "n $oviet

cinema of the 1')s, several directors used a similar principle, called

typage! #ere the actor was expected to portray a typical representativeof a social class or historical movement (Figs! 6!5*, 6!5+ (1!

Question 4

0 out of 2 points

Cinematic props are:

Selected Answer:

Items in films

Correct Answer:

Part of the setting

Response

Feedback:

The Correct Answer is Part of the Setting.

In manipulating a shots setting, the filmmaker may createprops short for

property. When an object in the setting has a function within the ongoing

action, we call it a prop (160).

Question 5

2 out of 2 points

Costuming and make-up in the mise-en-scene can be ___

Selected Answer:

All of the above

Correct Answer:

All of the above


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Response

Feedback:The correct answer is All of the Above.

See pages 162-63 for a full description of the function of costume and make-up in

film.

-s one of the most important aspects of the mise.en.scene, costumecan have specific functions in the total film %ut its range of

possi%ilities is huge (16! /ostume and ma0e.up can attempt at

realism %ut there is also styli&ed ualities calling attention to theirpurely graphic ualities such as in 2isensteins filmIvan the Terrible

where the attempt is not to realistically depict 3ussian aristocracy %ut

through exaggerated and styli&ed costuming and ma0e.up to evo0e a

sense of aristocratic degeneracy and tyranny! (Fig! 6!

Question 6

2 out of 2 points

When did the Chinese first enter the US in large numbers?

Selected Answer:

Mid nineteenth century

Correct Answer:

Mid nineteenth century

Response

Feedback:4he correct answer is Mid nineteenth century!#owever, large scale immigration did %egin in earnest in 15 when

5,))) /hinese arrived that year alone! any /hinese came to the

7nited $tates not only to see0 their fortunes %ut also to escape politicaland economic turmoil in /hina! -s gold ran out, thousands of /hinese

were recruited in the mid.16)s to help wor0 on the transcontinental

railroad (11!

Question 7

0 out of 2 points

Japanese Americans were interned because

Selected Answer:

The US government report stated it was a military necessity


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Correct Answer:

They were a resented minority

Response

Feedback:The correct answer is They were a resented minority.

More telling was the fact that Japanese Americans in the continental United Stateswere a small but much resented minority. Despite government reports to the contrary,

business leaders, local politicians, and the media fueled antagonism against the

Japanese Americans and agitated for their abrupt removal (17). Certainly there are

complicated reasons but neither the militarys report nor any other report citing the

supposed disloyality of Japanese Americans supported their removal. They were

smaller than the Japanese in Hawaii and therefore it was easier to remove them,

especially since there was already growing hostility against them. California, even

prior to Pearl Harbor, had a history of anti-Asian agitation and when the Chinese

stopped coming and the Japanese became the largest Asian immigrant group, laws

(such as the Alien Land Law to prevent Asians from owning land) were passed to

prevent the integration of Japanese in the US.

Question 8

0 out of 2 points

Many Asian Americans did not passively accept the violence against them nor the discriminatory laws

directed at them. What law best exemplifies this in the case of citizenship rights?

Selected Answer:

Brown v. Board of Education

Correct Answer:

Takao Ozawa v. US

Response

Feedback:4he correct answer is Takao Ozawa v. US!

4a0ao 8&awa was a 9apanese -merican who wished to %e naturali&ed

in 1'! 4his is one example of -sians protesting the 1'):aturali&ation law %ut a significant one %ecause it would determine, at

the national level, that -sians could not %ecome citi&ens after all!

$econd, the /ourt also ruled against 8&awas argument that 9apanese

were actually nmore white than other dar0er.s0inned white people

such as some "talians, $panish, and ;ortuguese! 4he /ourt clarified thematter %y defining a white person to %e synonymous with a person

of the /aucasian race (16!

Question 9

2 out of 2 points


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Other Asian American experiences were just as bad as Japanese Americans during WW II

Selected Answer:False

Correct Answer: False

Response

Feedback: The correct answer is "False".

Compared to the Japanese American experience, other Asian American groups

fared far better during and after World War II (18). Chinese, Filipinos, Koreans, and

Asian Indians all found that they were able to and were encouraged by the US

government to participate in the war effort. WWII has been called a watershed event

because it clearly defined the Asian Americans who were the good and loyal

citizens to the untrustworthy and dangerous Japanese Americans.

Question 10

2 out of 2 points

How many waves of Southeast Asian refugee migrations were there?

Selected Answer:

Three: Pre Saigon, Fall of Saigon, and Post Saigon

Correct Answer:

Three: Pre Saigon, Fall of Saigon, and Post Saigon

Response

Feedback:4he correct answer is Three: Pre Saigon, Fall of Saigon, and Post Saigon.

$outheast -sian refugees entering the 7nited $tates can %e easily

divided into three distinct waves< the first wave arrived in the 7nited

$tates in 1'5 shortly after the fall of $aigon= the second wave arrived%etween 1' and 1')= and the third entered the 7ntied $tates after

1') and continues to this day (!

Question 11

2 out of 2 points

The Salvador Roldan case prevented ___

Selected Answer:

Filipinos from marrying whites


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Correct Answer:

Filipinos from marrying whites

Response

Feedback: The correct answer is Filipinos from marrying whites.

(see last full paragraph of page 16)

Salvador Roldan was a Filipino man who wanted to marry a white woman. Although

the laws in California specifically stated in the early twentieth century that those of

negro, mulatto, or Mongoloid (16) were forbidden to marry whites, Roldan argued

that he did not fit any of these racial categories as a Filipino but was derived from the

Malay race instead. While he won his case, the California State legislature amended

the anti-miscegenation law to include the Malay race shortly after the Roldan

decision was announced (16).

Question 12

2 out of 2 points

What was the reason for the increase of Asian immigrants after 1965?

Selected Answer:

1965 Immigration and Reform Act

Correct Answer:

1965 Immigration and Reform Act

Response

Feedback:4he correct answer is 1965 Immigration and Reorm !ct!

4he 7$ passed the 1'65 "mmigration 3eform -ct that would significantly >increase? the to0en uota esta%lished after @orld @ar ""

to allow the 2astern #emisphere a maximum of ),))) per country,

and set a ceiling of 1),))) (! 4his law radically changed the

effect of over 5) years of immigrant exclusion of -sians (1/hinese 2xclusion -ct and following it, the litany of exclusions

directed at specific -sian ethnic groups< 9apanese, Filipinos, and -sian

"ndians!

Question 13

0 out of 2 points

The Japanese, Filipinos, and Asian Indians arrived around the same time as the Chinese in the US.

True or False?


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Selected Answer: True

Correct Answer:False

Response

Feedback:4he correct answer is "#a$%e"!$ee pages 11.1* for a description of 9apanese, Filipino, and -sian

"ndians! 4here were smaller num%ers of -sian "ndian and Aoreanimmigrants to the 7$! @hile Filipinos comprised a large population aswell, this did not occur till after the 7$ too0 the ;hilippines in 1'

when the country %ecame a commonwealth, there%y allowing Filipino

nationals to enter the 7$ freely! 4he 9apanese came as early as the/hinese %ut they did not settle first in the 7$ mainland, %ut in

#awaii! Bater, around the turn of the twentieth century and into the

first three decades of /hinese exclusion (1.1')s, the 9apanese

would %e the largest -sian immigrant entering the 7$!

Question 14

2 out of 2 points

According to Stam and Shohats The Imperial Imaginary, what is the one powerful tool that the

cinema has which the novel and print does not have to give the viewer a sense of power and

narcissism (eg., egocentricity)?

Selected

Answer: The gaze and the ability to position viewers in specific positions of

empowerment

Correct Answer:

The gaze and the ability to position viewers in specific positions of

empowerment

Response

Feedback: The correct answer is The gaze and the ability to position viewers in specific

positions of empowerment.

[The] cinema entailed a new and powerful apparatus of the gaze. (103)

By prosthetically extending human perception, the apparatus grants the spectator

the illusory ubiquity of the all-perceiving subject enjoying an exhilarating senseof visual power (103).

Question 15

2 out of 2 points


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In the film discussion of Wild Geese(1978), Shohat and Stam (Imperial Imaginary) describe it as

emblematic of the late imperialist film in which imperialism is on its decline. What of the following is

not part of Shohat and Stams (Imperial Imaginary) description of key narratives in the late

imperialist film?

Selected Answer:The Crusades

Correct Answer:

The Crusades

Response

Feedback:The correct answer is The Crusades.

The Crusades is the only narrative that is not part of the discussion of either Wild

Geeseor the late imperialist film.

The film adroitly camouflages its racism, however: a token Black is included in the

mercenary force . . . [and] and massacres seem more palatable when the perpetratorsare integrated (122). The late imperialist film also attempts to revise history by

calling for the colonizers to forgive the white past. In addition, Stam and Shohat

compare the late imperial film to westerns. They both have similar premises about

savage racial others and the necessary civilizing intervention of whites.

Question 16

2 out of 2 points

In Stam and Shohats essay, The Imperial Imaginary, one master trope of Euroamerican cinema is

that of nationhood. How does cinema give the sense of nationhood and national belonging?

Selected Answer:

By presenting the fictive unity of individuals who all live in the same nation

Correct Answer:

By presenting the fictive unity of individuals who all live in the same nation

Response

Feedback:4he correct answer is By presenting the fictive unity of individuals who alllive in the same nation.

4he nation of course is not a desiring person %ut a fictive unityimposed on an aggregate of individuals, yet national histories arepresented as if they displayed the continuity of the su%Cect.writ.large

(1)1! "n replacing, to some degree, novels and newspapers, cinema

gives the people of a nation the sense that they %elong to the samenationDcountry! #ence, this is why the idea of nation is an imagined

community according to Eenedict -nderson (1)1! 2uroamerican

cinema taps into this sense of sameness in %elonging, that people


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%ecome citi&ens and identify with the nation, and out of it films a%out2uropes empires and -mericas "ndian wars tap into this sense of

%elonging! Further, as $hohat and $tam show, nation is sometimes

ethnically and racially specific!

Question 17

2 out of 2 points

According to Stam and Shohat (Imperial Imaginary), how did the Gulf war narrative (in the US

networks coverage of the first Gulf war) empower the US viewer to be righteous and all-seeing?

Selected Answer:

All of the above

Correct Answer:All of the above

Response

Feedback:4he correct answer is !$$ o the a&ove!

$ee pages 15.6 for a full description of the ulf war coverage and

how it empowered viewers! 4he similarity %etween watching the warcoverage and playing a video game is in the all.seeing eye! "n %oth

cases, the viewer at home could %e the ga&er while sDhe is invisi%le to

others! "n short, the viewer is the conuering ga&e from nowhere(15! 4he spectacle of lights and explosions a%sent of %loody

causalities made the war less em%odied, evo0ed less empathy from its

viewers! Giewers %ecome detached from the reality of 0illing andperceive, instead, the war as virtual! Bast, it %ecame a feel.good war

%ecause of the ways media coverage and war propaganda helped to

>mo%ili&e? atavistic passions, as televisual spectatorship %ecamedeeply implicated in an attempt to corral multiethnic spectators into a

Cingoistic communalism (16!

Question 18

2 out of 2 points

In Stam and Shohats (Imperial Imaginary) dominant western cinema ____ (fill in blank).

Selected Answer:

All of the above

Correct Answer:

All of the above


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Response

Feedback:The correct answer is All of the above.

[D]ominant cinema has spoken for the winners of history, in films which

idealized the colonial enterprise as a philanthropic civilizing mission motivated by

a desire to push back the frontiers of ignorance, disease, and

tyranny. Programmatically negative portrayals helped rationalize the human costs ofthe imperial enterprise (109).

/ertainly, given this perspective, the last thing western cinema would

portray is the coloni&eds point of view which would unravel the

mythic narrative of the civili&ing mission and white mans %urden!

Question 19

2 out of 2 points

According to Gina Marchettis essay The Threat of Captivity, The Bitter Tea of General Yenwas

not received well in the British Commonwealth because of .

Selected Answer:

The interracial romance

Correct Answer:

The interracial romance

Response

Feedback:4he correct answer is The interracia$ romance!

-lthough in many ways The Biter Tea of General Yenis a very

traditional captivity narrative, the interracial liaison treated %y thenarrative created sufficient controversy to have the film %anned in

reat Eritain and the /ommonwealth at the time of its release (5)!

Question 20

2 out of 2 points

In Gina Marchettis explanation of the underlying tropes structuring the films Shanghai Expressand

The Bitter Tea of General Yen, she draws from Levi-Strausss theory of kinship. Which one of thefollowing reasons explains how women are used within the kinship system?

Selected Answer:

Women strengthen social bonds as objects of exchange between men

Correct Answer:

Women strengthen social bonds as objects of exchange between men


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Response

Feedback:The correct answer is Women strengthen social bonds as objects of exchange

between men.

The exchange of women is shorthand for expressing that the social relations of a

kinship system specify that men have certain rights in their female kin, and that

women do not have the same rights either to themselves or to their malekin(47). Women, therefore, represent objects of exchange and also symbolize the

necessity of exchange to maintain alliances and social bonds (47). As Marchetti

goes on to explain in this paragraph, the social bonds that women represent on behalf

of the family/community also contributes to the family/communitys cultural

integrity and an implicit feelings of superiority over those from other cultures (47).

Question 21

2 out of 2 points

In the filmBitter Tea, Gina Marchetti (Threat of Captivity) suggests that Megans dream at Yens

palace symbolizes . . .

Selected Answer:

Megans conflict between desire and racial repulsion

Correct Answer:

Megans conflict between desire and racial repulsion

Response

Feedback: The correct answer is Megans conflict between desire and racial repulsion.

In a psychoanalytic reading of the Megans dream, Yen is alternately her savior (in

the white suit as a knight-errant) and as an evil warlord (as a Fu

Manchu/Nosferatu/Vampire type). Yen is, at least in Megans mind, both of these

characters but her desire/repulsion for the two Yens symbolize her own conflict of

her racial and moral codes/ethics and sensuality.

The Bitter Tea of General Yens struggle seems to be an internal one between

sensuality and moral righteousness. Race, at least for the moment, seems almost

secondary, since

egans dream indicates that Hen fulfills all the roles for her! #e

functions as her savior from the threatening aspects of sexuality, the

guarantor of the %lissful promises of the safety of true love and asthe dar0 force of sexuality unchec0ed (5+!

Question 22

0 out of 2 points


12/22

According to Gina Marchettis essay The Threat of Captivity, from the beginning of the film,Bitter

Tearecalls earlier tropes and narratives within American history. Which is it?

Selected Answer:

Manifest destiny

Correct Answer:

The protection the colony

Response

Feedback:4he correct answer is The protection the colony.

4he image seems clichId J the light.filled -merican home in the

midst of a dangerous, alien world outside the door, the homestead

assaulted %y #ollywood "ndians, the pioneer family on the plains, theplantation families in -frica, -sia, or Batin -merican J an image that

visually represents -merican values forged in the wilderness (51!

Question 23

2 out of 2 points

According to Gina Marchetti (Threat of Captivity) and many film theorists, Josef von Sternbergs

films (Shanghai Express)are considered exotic melodramas because of his cinematic techniques.

Why?

Selected Answer:

The visual style of the film and the narrative are at odds with each other

Correct Answer:

The visual style of the film and the narrative are at odds with each other

Response

Feedback:4he correct answer is The visual style of the film and the narrative are atodds with each other.

Bi0e many of von $tern%ergs other films set in distant lands,

Shanghai Expresscan %e loo0ed at as an exotic melodrama in which

style and narrative are sometimes at odds ideologically(5'! archetti goes on in this paragraph to descri%e how style and

narrative are at odds with each other in specific film shots! For

example, the on.screen relationship %etween Koc #arvey and Bily areflat and unemotional, yet $tern%ergs visual style of hyper.charging

the visual field seems contradictory to the flattened emotions

displayed %y %oth characters!

Question 24


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2 out of 2 points

According to Gina Marchettis essay The Threat of Captivity, in the Shanghai Expresswhy is the

Eurasian character Chang such a threat?

Selected Answer:

He is the epitome of racial and cultural difference

Correct Answer:

He is the epitome of racial and cultural difference

Response

Feedback:The correct answer is He is the epitome of racial and cultural difference.

The puzzle of Changs racial and ethnic identity seems to spill over to include his

sexual identity. Chang stands as the emblem of the ideological question of

difference. Neither Asian no white, homosexual nor heterosexual, his potential threat

comes as much from his existence outside the distinct, hierarchical boundaries on

which Euroamerican society is based as it does from the fact that he is a vicious

warlord (64).

Question 25

2 out of 2 points

According to Christina Klein (Family Ties as Obligation) what was the political agenda of the

Christian Childrens Funds of Asian adoption?

Selected Answer:

To prevent communism and atomic warfare

Correct Answer:

To prevent communism and atomic warfare

Response

Feedback:4he correct answer is To prevent communism and atomic warfare.

4he advertisement invo0es the twin paraly&ing anxieties of the /old

@ar J communism and the atomic %om%...only to offer an easy

solution! "t concludes %y inviting the reader to adopt a childL for tendollars a month in any of the fourteen countries in which the //F runs

orphansL 4he advertisement invites the reader to save herself from

atomic warfare, and the child from communism, %y extending the

-merican family out into the world (15+!

Question 26

2 out of 2 points


14/22

According to Christina Klein (Family Ties as Obligation), Americas fear of Momism during

World War II changed over to the fear of _____ during post World War II. Fill in the blank.

Selected Answer:

Whitemanism

Correct Answer:Whitemanism

Response

Feedback:4he correct answer is 'hitemani%m!

Ey 1'5 @ylie shifted his critiue away from omism and toward

whitemanism< .. that is, racism J as the source of the nationsvulnera%ility! Bi0e so many other contemporary political o%servers,

@ylie condemned racism for alienating the colored people of the world

whose alliance the 7!$! needed (1)!

Question 27

2 out of 2 points

According to Christina Klein (Family Ties as Obligation), South Pacificcreated by Oscar

Hammerstein was envisioned as an antiracist story, true or false?

Selected Answer:True

Correct Answer:True

Response

Feedback:4he correct answer is True!

South Pacificuses much of its dramatic energy to repudiate -mericanracism and to esta%lish love as the only force capa%le of eradicating it

(16*! Bi0e icheners story, 3odgers and #ammersteins musicalrendition of South Pacifichopes to uncover 7$ racism in hopes of

reeducating -mericans a%out their sin of preCudice! "n fact, for

3odgers and #ammerstein, it is love that fully repudiates racism!

Question 28

2 out of 2 points

According to Christina Klein, what was Oscar Hammersteins lifelong political commitment?

Selected Answer:

All of the above

Correct Answer:

All of the above


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Response

Feedback:4he correct answer is !$$ o the a&ove!#ammerstein was devoted to all of the a%ove choices J ;opular 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! $ee pages 1'.1!

Question 29

0 out of 2 points

Christina Klein argues that during post World War II era, American middlebrow intellectuals and

writers believed that the United States lack of obligation to Asia was the result of ______

Selected Answer:

Not understanding Asian culture

Correct Answer:

The fact that few Americans can trace their descendants from Asia

Response

Feedback:4he correct answer is The fact that few Americans can trace theirdescendants from Asia.

#enderson, ichener, and "saacs each cast the pro%lem of political

o%ligation to -sia as a pro%lem of family< -mericans did not feel

%ound to -sians %ecause they had rarely %elonged to the same familiesand thus shared few of the ties of culture, religion, and language that

families 0nit across oceans and generations! -ll three men saw

immigrant families as incu%ators of 0nowledge a%out the world, andsaw the small num%ers of these families as part of -mericas pro%lem

in -sia (1+5!

Question 30

2 out of 2 points

In Marcettis essay Tragic and Transcendent Love, who is found dead at the beginning of The

Crimson Kimono?

Selected Answer:

Stripper

Correct Answer:

Stripper

Response Feedback: 4he correct answer is Stri((er!


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$ee page 1+6! $he wor0s at a %urlesue theater!

Question 31

2 out of 2 points

In the film Sayonara, the double-suicide of Kelly and Katsumi would seem to provide social

commentary about racism and classism. But according to Gina Marchetti, the result of the double-

suicide in the rest of the film really shows what?

Selected Answer:

How death can be tragically aestheticized

Correct Answer:

How death can be tragically aestheticized

Response

Feedback:4he correct answer is How death can be tragically aestheticized.

4he a%surdity of the suicide is never voiced! 3ather, in 0eeping with

the traditions of the @estern melodrama, it is simply presented asMtragic, reified as Mfate! "n fact, the film aesthetici&es the dou%le

suicide %y first introduction the idea in a Eunra0u puppet performance

featuring two doomed medieval lovers, the 9apanese euivalents of$ha0espearesRomeo and uliet (1*'!

Question 32

0 out of 2 points

In Marchettis Tragic and Transcendent Love, the film The Crimson Kimonouses _____ difference

as a way to avoid talking about _____ difference. Fill in the blanks

Selected Answer:

identity/racial

Correct Answer:

aesthetic/racial

ResponseFeedback:

The correct answer is aesthetic/racial.

In order for the film to maintain an ideological equilibrium that will neither allow

for an expressed racism nor a radical call for complete desegregation, this

displacement f racial onto aesthetic concerns becomes crucial (149).

4his call to loo0 at 9oes and /hriss relationship as a romance%etween two 0indred souls rather than as a romance %etween 9apanese


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man and an -nglo.-merican woman also %rings to the surface furtherchallenges to the -merican social order that must %e dealt with or

suppressed (15)!

Question 33

0 out of 2 points

According to Marchettis Tragic and Transcendent Love, critiques of American racism toward

Asians and especially Japanese Americans are erased in the films depiction of ________

Selected Answer:

Kendo match

Correct Answer:

All of the above

Response

Feedback:The correct answer is All of the above.

Joe misinterprets Charlies comment about his relationship with Chris (You mean,

youre going to marry her) as racist. But he discovers later that it was personal

anger (perhaps over loss friendship) rather than racism. This realization comes after

he kills Roma and she confesses to personal jealousy. Last, Charlie brutally beats Joe

during the kendo match, bringing out the latent racism of the film. Despite how

assimilated Japanese Americans are, they can still be animals and savages (just as the

Japanese were during World War II).

#aving already esta%lished 9oe as %it off during the 0endo match, thefilm uses ever means at its disposal to guide the viewer to interpret/harlies remar0 as personal anger rather than racial %igotry (156!

Question 34

2 out of 2 points

According to Marchetti (Tragic and Transcendent Love), even while Sayonaraenvisions racial

acceptance of Japanese and Asians, the representations of Hana Ogi and Katsumi (as Japanese

women) are

Selected Answer:

All of the above

Correct Answer:

All of the above


18/22

Response

Feedback:4he correct answer is !$$ o the a&ove!oreover, although Sayonaraattempts to critici&e racism, the film, as

it shores up traditional gender definitions, also stic0s to accepted

stereotypes a%out -sians, particularly -sian women, as passive,

childli0e, and servile! oreover, the passive Aatsumi seems to act as a

metaphor for the defeated 9apan (1*+!

Question 35

0 out of 2 points

According to Gina Marchettis (Tragic and Transcendent Love) reading of Sayonara, any

ideological critique of the military and the Korean War becomes relegated to Lloyd Gruvers ______

(fill in the blank).

Selected Answer:

Relationship with Eileen

Correct Answer:

Oedipal dilemma (over his overly demanding father)

Response

Feedback:The correct answer is Oedipal dilemma (over his overly demanding father).

Although Sayonaraseems to ask to be read as an antiwar film, the reality of the

Korean War and the controversy it generated are quickly placed on the back burner

(128).

2ven the vaguest uestioning of the morality of the Aorean @ar%ecomes here simply the expression of an 8edipal dilemma, there%y

personali&ing antiwar sentiments as re%ellions against the father more

than the military esta%lishment he represents (1'!

Question 36

2 out of 2 points

According to William Wei, some Asian and Pacific Islanders are not as well recorded within APAhistory. Who are considered the Forgotten Asian Americans?

Selected Answer:

Filipino and Koreans

Correct Answer:

Filipino and Koreans


19/22

Response

Feedback: The correct answer is Filipino and Koreans

It began the Forgotten Asian Americans project, a national oral history project

supported by a $125,000 grant from the Division of Special Programs of the

National Endowment for the Humanities (62).

Question 37

0 out of 2 points

During the early period of the Asian American Movement, artists and filmmakers believed that

Selected Answer:

Art must be aesthetic first

Correct Answer:

Art must educate and inform

Response

Feedback: The correct answer is: Art must educate and inform

The political approach emphasized the Asian American artists moral responsibility

to the community and the social purpose of an artists work. For some cultural

activities, this meant that Asian American writers (as well as other artists) should

serve as cultural ambassadors and bear the burden of speaking for their people

(64).

Question 38

0 out of 2 points

According to William Weis history of Asian American Activism in art and history, one of the first

major exhibits showcased by The New York Chinatown History Project was story about

Selected Answer:

The 8 lb. Livelihood

Correct Answer:

All of the above

Response

Feedback: The correct answer is: All of the above


20/22

NYCHP is probably best known for its excellent exhibits on various aspects of

community life, especially those less studies and understood, such as the lives of

laundry and garment workers. . . In December 1984, NYCHP opened its firstexhibit., Eight Pound Livelihood: History of Chinese Laundry workers in the U.S.

(59).

Question 39

0 out of 2 points

"n $tephen ongs - #istory of ;rogress, a%out the -sian -merican media artsmovement, what is the difference %etween mediaDtelevision and the media artsN

Selected Answer:

edia arts refers to art and mediaD4!G! is commercial

Correct Answer:

edia arts is alternative and ediaD4!G! is mainstream

Question 40

0 out of 2 points

$ince the 1'')s, the most successful and pro%a%ly well.0nown -sian -merican

media arts center is

Midterm APA 345

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