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The Asian American movement is a pan-Asian American civil rights and social justice movement that grew out of the social movements of the 1960s. While the African American civil rights movement had developed as a response to the common lot of African Americans, the Asian American movement developed more slowly because of the more heterogeneous nature of the community. Chinese Americans, Japanese Americans, Filipino Americans, and others had very different histories and had faced different challenges, but all had faced unusually high levels of discrimination as well as being lumped together both by laws (especially immigration and miscegenation laws) and popular thought, which perpetuated stereotypes about “inscrutable Orientals” and Asian passivity.

The development of a pan–Asian American civil rights movement was inevitable, but its growth in the 1980s was precipitated by the violent death of Vincent Chin, a Chinese American whose killing was motivated by anti-Japanese sentiment.

Asian immigrants faced an unusually high level of discrimination as their numbers grew in the 19th century. Asian laborers, mostly Chinese, were imported for major works of manual labor, including the work of the California Gold Rush, the building of the railroads, and numerous mining operations in the Pacific Northwest. Employers typically paid Chinese workers significantly less than white workers, and white workers in turn were displaced from work, or perceived that they were. This fueled resentments, leading to waves of anti-Chinese violence throughout the west from roughly the 1870s to the turn of the century, including several infamous massacres.

Anti-Chinese sentiment—the so-called Yellow Peril, the specter of Asian immigration transforming through sheer numbers the culture of the United States—was also instrumental in the formation of 19th-century labor unions and workingmen's political parties. Labor unions sought to stabilize wages and prevent employers from being able to hire Chinese workers at lower wages than white workers. Workingmen's political parties sought the passage of laws requiring the same thing. Both also supported legislation like the Chinese Exclusion Act, which suspended Chinese immigration to the United States in 1882. The Scott Act in 1888 went further, preventing Chinese immigrants who had previously immigrated to the United States from reentering the country once they left—effectively requiring them to choose between countries.

This sign reading “I am an American” appeared in the window of an Oakland, California, store owned by a Japanese American on December 8, 1941, the day after Pearl Harbor. The store was closed and the owner interned with other Japanese Americans.

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Exclusion was repealed in 1943, though many immigration restrictions were not lifted until 1965, and other race restrictions remained in force—like state laws preventing Chinese from marrying whites—many of which remained in force until the Supreme Court ruled in Loving v. Virginia that all anti-miscegenation laws were unconstitutional.

Popular Culture

Even at a time when many other racial caricatures, and the racist nature of blackface shows, were falling out of favor, Asian caricatures became a stock in trade of American popular culture. Pulp stories of the 1920s, 1930s, and 1940s used numerous caricatured Asian villains, depicted via phrases like “slanted eyes,” “satanic cunning,” and “moonlike yellow faces,” the most famous of which is Fu Manchu. Boris Karloff played Fu Manchu in one of the film adaptations, The Mask of Fu Manchu. The alien warlord Ming the Merciless in the Flash Gordon comic strip and later film serial was another Asian caricature villain playing on Yellow Peril fears. Like Fu Manchu, he was typically depicted by white actors, as was Charlie Chan, the heroic but highly caricatured Asian American detective portrayed in most films by Swedish actor Warner Oland or American actor Sidney Toler. The use of makeup to turn white actors into Asian caricatures is sometimes called “yellowface,” an echo of the shoe polish and other means by which white actors are turned into African American caricatures. One of the most egregious examples still seen in many airings on TV is Mickey Rooney's buck-toothed portrayal of a Japanese neighbor in the film adaptation of Breakfast at Tiffany's. And of course, during World War II, Japanese Americans (and in some cases, non-Japanese Asian Americans) were not only mistreated by many of their neighbors but were rounded up in large numbers and placed in internment camps.

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