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Crossing America's Borders: Chinese Immigrants in the Southwesterns of the 1920s and 1930s

Crossing America's Borders: Chinese Immigrants in the Southwesterns of the 1920s and 1930s Crossing America’s Borders: Chinese Immigrants in the Southwesterns of the 1920s and 1930s philippa gates today, when we think of the fil m western, 2013) recently reminded us of that contribution. we think of a genre dominated by Anglo­ Amer­ As Glenn Whipp suggests, The Lone Ranger ican heroes conquering the various struggles “looked at the mythology of America’s west­ and obstacles that the nineteenth­ century ward expansion with a progressive sensibility frontier presented to settlers and gunslingers that you wouldn’t expect from either producer alike—from the daunting terrain and inclem­ Jerry Bruckheimer or the Walt Disney Co.” ent environment of deserts, mountains, and (par. 9). More specifically, as French critic Jacky plains to the violent opposition posed by cattle Goldberg noted in his review, the film suggests ranchers and Native Americans. What we tend that “America was founded on the theft and to forget, most likely because the most famous unlawful killing of Indians, and the exploitation Westerns of the last seventy­ fiv e years also for­ of Chinese immigrants” (par. 4). got, is that Chinese immigrants played an im­ The nineteenth century saw an influx of portant role in that frontier history. As Edward Chinese immigrants, originally http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Crossing America's Borders: Chinese Immigrants in the Southwesterns of the 1920s and 1930s

Gates, Philippa
Journal of Film and Video , Volume 69 (4) – Nov 18, 2017
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Crossing America’s Borders: Chinese Immigrants in the Southwesterns of the 1920s and 1930s philippa gates today, when we think of the fil m western, 2013) recently reminded us of that contribution. we think of a genre dominated by Anglo­ Amer­ As Glenn Whipp suggests, The Lone Ranger ican heroes conquering the various struggles “looked at the mythology of America’s west­ and obstacles that the nineteenth­ century ward expansion with a progressive sensibility frontier presented to settlers and gunslingers that you wouldn’t expect from either producer alike—from the daunting terrain and inclem­ Jerry Bruckheimer or the Walt Disney Co.” ent environment of deserts, mountains, and (par. 9). More specifically, as French critic Jacky plains to the violent opposition posed by cattle Goldberg noted in his review, the film suggests ranchers and Native Americans. What we tend that “America was founded on the theft and to forget, most likely because the most famous unlawful killing of Indians, and the exploitation Westerns of the last seventy­ fiv e years also for­ of Chinese immigrants” (par. 4). got, is that Chinese immigrants played an im­ The nineteenth century saw an influx of portant role in that frontier history. As Edward Chinese immigrants, originally

Journal

Journal of Film and Video – University of Illinois Press

Published: Nov 18, 2017

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