Asian Fetish Sex

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Asian Fetish Sex
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From Wikipedia, the free encyclopedia
Sexual obsession with Asian people expressed by non-Asians
The neutrality of this article is disputed . Relevant discussion may be found on the talk page . Please do not remove this message until conditions to do so are met . ( September 2019 ) ( Learn how and when to remove this template message )
The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject . You may improve this article , discuss the issue on the talk page , or create a new article , as appropriate. ( September 2019 ) ( Learn how and when to remove this template message )
This article's lead section may be too short to adequately summarize the key points . Please consider expanding the lead to provide an accessible overview of all important aspects of the article. ( March 2021 )


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Look up Asiaphile in Wiktionary, the free dictionary.
An Asian fetish is a strong sexual or romantic preference for persons of Asian descent or heritage. The term generally refers to people of East or Southeast Asian descent, [1] though may also include those of South Asian descent. [2] [3] [4] [5] [6]

The derogatory term yellow fever is sometimes used to describe the fetishisation of East Asians by people of other ethnicities, especially among non-Asians, as well as having a preference for dating people of East Asian origin. [4] The usage of "yellow" stems from the racial classification/color terminology for people of East Asian descent.

In the United States, women of primarily East Asian (and Southeast Asian to a lesser extent) origin and or descent are most commonly misrepresented through stereotypes as subservient, passive, mysterious, villainous in nature, and hyper-sexual. The oversimplification of these cultures portray homogenous versions of these groups. Such stereotypes are widely accepted as the driving factor behind the fetishization of Asian women in the West. Though there is no single origin for Asian fetish, the corresponding stereotypes of Asian women emerged in the 1800s due to the increasing levels of Western imperialism in Asia throughout the century. [7] This is evidenced by the cultural attitudes reflected in both the politics and arts of the time.

It is important to uncover the history of these cultural misrepresentations and its relationship to pop culture in order to begin to examine the subsequent implications of potential misrepresentations in the 21st century. Harmful stereotypes of Asian women in America influenced the first U.S immigration law based on race, the 1875 Page Act, preventing Chinese women from entering the United States. These women were feared to lack moral character, assumed to engage in prostitution, and spread sexually transmitted diseases to white men. At the same time, the coercive opening of treaty port cities in China, Japan, and Korea as a result of Western imperialism created a trade route to feed demands for Oriental art and collectibles, which often depicted sexualized geishas. In Cornel West's book, Race Matters , he describes the flaws of American society and its roots in historical inequalities and longstanding cultural stereotypes. [8] In terms of Asian Americans, he states that their negative depiction continued through the nineteenth century as a yo-yo effect from "bad" to "good" to "bad" depending on the political climate at that time. [8] The increase of Western power and presence in Asia also spawned well-known works of art that contributed to the depiction of Asian women as simultaneously innocent and over sexualized. French writer Pierre Loti's 1887 novel Madame Chrysanthème is a notable example. The semi-autobiographical story of a naval officer stationed in Nagasaki depicts his temporary Japanese wife as a dainty plaything to be acquired like a prized object. The novel was both wildly popular and internationally influential, inspiring the similarly famous 1904 Italian opera Madame Butterfly by Giacomo Puccini.

There are several other misrepresentations of Asian women in American popular culture throughout the nineteenth century through the transformation of "bad Asian" to "good Asian" in Hollywood films such as The Good Earth. "The screen reality coincided with the rewarding of the good Asian, as the Chinese Exclusion Act of 1882 was finally repealed in 1943. But this changed again with the Communist takeover of China in 1949, and the Chinese became once more the favorite Hollywood whipping boy, along with the Viet Cong". [9] Asian American women were seen as the mysterious and scary henchwoman to the evil Asian villain or as the pathetic "Madame Butterfly" who could be cast aside at a moment's notice unless committing suicide afterward as her lover leaves her. The "good" Asian women were those who are subservient to the white protagonist against her own people, while often giving her body to him in the process. "David Henry Hwang points out, the neocolonial notion that good elements of a native society, like a good woman, desire submission to the masculine West speaks precisely to the heart of our foreign policy blunders in Asia and elsewhere". [10] [9] If an Asian woman was not depicted as the villain, she is instead a mindless simpering sexual object.

After World War II, the U.S. came to dominate among Western powers and accordingly exerted a strong military presence in Korea and Vietnam. The U.S. military took control of several Japanese military-run brothels in anticipation that their soldiers would need to "blow off steam" and encouraged engaging with prostitutes as a way to boost morale. Coupled with the poverty of local women, this created a booming sex industry, which further perpetuated the stereotype of Asian women as submissive and hypersexual. As a result of these sexual exploitations we see fils such as Year of the Dragon (1985) Tracy Tzu is an Asian American news reporter and is given the impression that she is a smart young professional but is then eventually manhandled and dominated by a white GI 'hero'. She is then overpowered and carried off to bed as if she is nothing but a trophy. As Richard E. Lee points out, Tzu's ambivalent position as both object of desire and seductive destroyer of the family is redeemed only by her collaboration with the White man and her ultimate devotion to him. [11] These cinematic misrepresentations of Asian women portray them as eager to please the man that owned them and something to be desired or conquered. All of which have contributed to the misconception of Asian women even today, contributing to the subconscious, and dehumanizing thinking that may lead to sexual assault upon them. [9] Coming back to the U.S. from the Korean and Vietnam Wars, American G.I.s brought women as war brides, contributing to the perception of Asians as passive trophies and victims without agency. Popular media reflected such views of Asian women being promiscuous yet in need of saving, from pornography featuring sexually and domestically servile Asian war brides, to novels like Greene's The Quiet American , to Kubrick's film Full Metal Jacket .

Despite the apparent improvements to be seen in cinematic depictions from the early 1900s to the 90s, Asian women are still seen as somehow "asking for it" and are never able to live up to the "decent, wholesome, white woman". In 2001's Rush Hour 2 , we see Asian women in massage parlors given no lines or complexity to their characters put on display solely for lead actors Jackie Chan and Chris Tucker to choose from. These media representations may lead viewers to see Asian women as nothing more than dainty sexual objects that contribute to Asian fetishes.

A common term used for Asian fetishization (particularly with East and Southeast Asians) is yellow fever . The term was notably used in from the afterword to the 1988 play M. Butterfly by David Henry Hwang , the afterword being written by the writer of the play. The term is used as a derogatory pun on the disease of the same name , comparing Caucasian men with a fetish for East and Southeast Asian or "Oriental" women to people who are infected with a disease. [1]

Yellow fever is used in Asian fetishization to refer to the color terminology of people of East Asian descent (and some South-East Asians), as historically, persons of East Asian heritage have been described as "yellow people" based on the tone of their skin. [12]

Hwang argues that this phenomenon is caused by the stereotyping of Asians in Western society . The term yellow fever is analogous to the term jungle fever , a derogatory expression used for racial fetishism associated with dating between different races. [12]

In 2007, after a two-year study on dating preferences among 400 Columbia University students, researchers did not find evidence of a general preference among White men for women of East Asian descent. The study found that there was a "strong preference" for people to date within their own ethnic group. Though the report also found that there is a significantly higher pairing of European-American men with East Asian-American women because women of East Asian descent are less likely to prefer African-American or Latino-American men. The study took data from "several of decisions made by more than 400 daters from Columbia University's various graduate and professional schools". [13]

A 2013 study by the online dating app Are You Interested found that all American men, except Asian American men, prefer Asian American women. [14] This contradicts the 2007 study, though some question the potential effect of sampling on the study's generalizability. [15]

Yellow Fever is known as a modern phenomenon in the realm of dating. Based on responses from a few Asian ethnic groups, the yellow fever phenomenon has created a psychological burden on people of East and Southeast Asian descent. They have been reported to experience doubt and suspicion that men who find them attractive may be primarily attracted to their ethnic features and culture rather than their personal traits or characteristics. [12] People that are the targets of these racial fetishes may have experiences associated with feelings of depersonalization . [12] The fetishized body of the East or Southeast Asian woman becomes a symbol of other people's desires; she may not be valued for who she is, but what she has come to represent. [16] Racial depersonalisation can be especially hurtful to these women in situations where being recognized as an individual is important, such as romantic relationships, be
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