Asian Pacific American Heritage Month

  • Industry

Asian Cinema (Part 2): Taiwan, Hong Kong and China

Taiwan has been drawn to cinema as an art form since the summer of 1900 when Oshima Inoshi and his projectionist Matu-ura Shozo brought to Taipei and other cities, the dreamy new moving images created by the Lumière brothers, a mere four years after the novelty had been shown to enthralled audiences in Japan and China. The island, caught between history’s many chapters made of darkness and light, seems to still be looking for its own identity after centuries of dispute between European powers, Tokyo and Beijing.
  • Industry

Hollywood Gold: A New Generation of Asian Actors

Asian actors have always been a part of the Hollywood landscape, and with the recent emphasis on increasing diversity both in front of and behind the camera, it has only helped them to push the dial forward into mainstream roles. Now, leading men such as Malaysian-British Henry Golding (Crazy Rich Asians, Snake Eyes:  GI Joe Origins), Chinese-Canadian Simu Liu (Shang-Chi, Legend of the Ten Rings), Taiwanese Chang Chen (Crouching Tiger, Hidden Dragon, Dune), Chinese-British Lewis Tan (Deadpool, Mortal Kombat), and Chinese-American Daniel Wu (Reminiscence), the idea of an Asian A-lister is no longer an anomaly in Hollywood.
  • Industry

Restored by HFPA: “Apur Sansar” (1959)

Apur Sansar (The World of Apu) concludes the Apu Trilogy, director Satyajit Ray’s magnum opus. The three Bengali language films, based on the books by Bibhutibhushan Bandyopadhyay, tell the coming of age story of Apu – Pather Panchali (1955, Song of the Road) is about Apu’s childhood growing up in the village of Boral in rural Bengal; in Aparajito (1956, The Unvanquished) the story moves to his adolescence in the holy city of Benares; and Apur Sansar concludes the story in Calcutta with Apu facing the challenges of adulthood.