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When Chinese laborers first came to America in the midth century, men traveled to make money, while women mostly stayed at home. That Wong was American, however, complicated the normal Orientalist discourses: The reasons for that reputation were complicated: Her parents forced her to go to Chinese school after American school, but she skipped it to go to the movies. She forced magazines to perform a lot of tricky rhetorical maneuvering where they acknowledged that she was somehow, magically, almost inconceivably, at once American and Chinese. She was immediately cast in her first leading role in The Toll of the Sea, a nonoperatic take on Madame Butterfly that blew up the screen for two very simple reasons: She brings to the screen the rare comprehension and the mysterious colors of her ivory-skinned race. You can read previous installments — on everyone from Katharine Hepburn to Marlon Brando — here. For the Occident to reify its position as potent, masculine, and dominant, it had to figure the Orient as diffuse, feminized, and passive. White people can play at other races, and other races can play at very little. In classic Hollywood, not only was it OK to act Asian, it was celebrated. Wong was also opposite of what many had come to associate with Chinese-Americans, which, at least in the late 19th and early 20th century, comprised a subculture that was conceived of as being segregated, unknowable, and almost entirely male. Over the next two years, Wong appeared in bit parts in various films, still attending school, before quitting in to focus full-time on her career.
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