to “pull back from treating China as an adversary.” In the Washington Post, Pulitzer Prize-winning author Viet Thanh Nguyen and Asian-American studies professor Janelle Wong argue: “When officials express fears over China or other Asian countries, Americans immediately turn to a timeworn racial script that questions the loyalty, allegiance and belonging of 20 million Asian Americans.” Journalist Peter Beinart warns that “if America’s leaders are serious about combating anti-Asian violence” at home, “they must stop exaggerating the danger that the Chinese government poses. But its factual basis is doubtful.Ĭolumbia University historian Mae Ngai wants the U.S. Images: KeystoneSTF//AFP/Getty Composite: Mark Kellyĭoes criticism of China imperil Asian-Americans? A rash of recent commentary in the wake of last month’s shootings in Atlanta that killed eight people, six of them Asian women, makes that claim. Neither character addresses the cheating directly, but thanks to the intimacy of a shared wardrobe, they don’t have to.Main Street: A new generation is getting a hard lesson that Communists are real, as are the lies and violence necessary to keep them in power. Those sartorial coincidences reveal the affair. Each day she carries a new handbag identical to the Japanese purses Su’s spouse brings back for her after trips abroad.
Chow and Su both suspect their spouses are cheating on them, and their suspicions are confirmed via accessories, namely the tie that Su’s husband wears each day, purchased at the same store where Chow’s wife buys his. Chan would not be as evident sans those immaculate Cheongsam dresses and bold red trench.įrom the very first act, clothing plays a role in the film’s trajectory.
Likewise, the sensuality of Maggie Cheung’s otherwise reserved secretary Su Li-zhen aka Mrs. The quiet longing of Tony Leung’s journalist Chow Mo-Wan wouldn’t be the same without his buttoned-up wardrobe of suits and floral ties. In Kar Wai’s world, mise-en-scene conveys as much information as dialogue and character’s clothing choices reveal sides of their personality they never express verbally. The film, which premiered 20 years ago today at the Cannes Film Festival, could be summed up with those words, though its costumes do an excellent job of telling the story, too. “It is a restless moment” reads the title cards that flashes before the main characters are introduced. Wong Kar Wai’s romantic masterpiece, In the Mood for Love, begins with a pronouncement. Janelle Wong, a professor of American Studies at the University of Maryland, College Park, released analysis last week, based on official crime statistics and other studies, showing more than three-quarters of offenders of anti-Asian hate crimes and incidents, previous to and during the pandemic, have been white.
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