2011年3月24日星期四

Is Amy Chua right when she explains "Why Chinese Mothers Are Superior" in an op/ed in the Wall Street Journal?

"Why Chinese Mothers Are Superior" puts forward a very strong view on behalf of Chinese/Chinese-American mothers who hold their children to rigorous and demanding standards even if that requires using abusive language as "motivation" (author's words)

I was interested in hearing the viewpoints of those who have had a mother with the characteristics that Amy Chua advocates. Did you think you benefited from it, were hurt by it or experienced a mix of the two?

Chinese mothers are not superior. It's clear that the author Amy Chua has a new book out and linkbait headlines in the WSJ will help her sell them. I understand she uses the term "Chinese Mother" to represent a certain parenting style - one that I am very familiar with from personal experience.

Here's my take on it. My family immigrated to the U.S. from Taiwan in the 70s. My mother was a stay at home mom raising 4 kids and was stereotypical strict. I lived in that household where getting a B on your report card was a sign of failure. A lot of focus and pressure was placed on the first child - my older sister - in the hopes that she would set an example for the rest of us. In a very painful hindsight I think you can say too much emphasis was placed on molding my sister into the example my mother wanted the rest of us to follow. I don't blame her as she did the best she could to raise us in the U.S. in the style that she was raised ...in Taiwan.

There's a culture clash you can't overlook here. The "superior" Chinese mother in my life had a strictly results driven, merit based mindset and a heavy emphasis on test scores, achievements and report cards being able to show that her daughter was better than everyone else in the class -- which in turn was a reflection on her success as a parent. However, the environment in which she raised us in was a different country. One that she has honestly never gotten used to or felt comfortable in living in. To her, the idea of having her children become "Americanized" was looked down upon as failure. The idea of allowing a more flexible stance, a softer tone or an expression of individualism was out of the question. This duality of living in a very "Chinese" household and going to school where our American teachers taught us to be free thinking and creative were constantly at odds with each other growing up.

Drawing from personal experience, the reason why I don't feel this works is because I've seen an outcome that Amy Chua, the author fails to address or perhaps has yet to experience.

My big sister was what I used to jealously call "every Asian parent's wet dream come true" (excuse the crassness, but it really does sum up the resentment I used to feel towards her). She got straight As. Skipped 5th grade. Perfect SAT score. Varsity swim team. Student council. Advanced level piano. Harvard early admission. An international post with the Boston Consulting Group in Hong Kong before returning to the U.S. for her Harvard MBA. Six figure salary. Oracle. Peoplesoft. Got engaged to a PhD. Bought a home. Got married.

Her life summed up in one paragraph above.

Her death summed up in one paragraph below.

Committed suicide a month after her wedding at the age of 30 after hiding her depression for 2 years. She ran a plastic tube from the tailpipe of her car into the window. Sat there and died of carbon monoxide poisoning in the garage of her new home in San Francisco. Her husband found her after coming home from work. A post-it note stuck on the dashboard as her suicide note saying sorry and that she loved everyone.

Mine is an extreme example of course. But 6 years since her passing, I can tell you that the notion of the "superior Chinese mother" that my mom carried with her also died with my sister on October 28, 2004. If you were to ask my mom today if this style of parenting worked for her, she'll point to a few boxes of report cards, trophies, piano books, photo albums and Harvard degrees and gladly trade it all to have my sister back.

For every success story that has resulted from the "Chinese mothers" style of parenting, there are chapters that have yet to unfold. The author can speak to her example of how it's worked for her but it'll be interesting to see how long you can keep that gig up and pass it down until something gives.

As a responsibility to herself as a "superior Chinese mother", I think Amy Chua should do a bit of research outside her comfort zone and help readers understand why Asian-American females have one of the highest rates of suicide in the U.S. -- I bet many of you didn't know that. I didn't until after the fact. It'd make a good follow up book to this one she's currently profiting from.

A few years ago I got up the guts to begin sharing the story of my sister because the more I learned about depression and suicide following her death, I found myself growing increasingly frustrated with the stigma of depression in our society. I was also shocked to learn that Asian-American females had one of the highest suicide rates in the U.S.

I have personally helped 2 young women in the last few years who reached out to me as a result of sharing my story. Both the "perfect" daughters of "superior Chinese mothers" who were sharp Ivy League grads hiding their depression from their families and friends. I was also able to play a role in preventing the suicide of a friend of mine several months ago because of the awareness I've developed about depression and suicide since my sister's passing.

I want to clarify again that my sister's story is an extreme example that hits home for me. I'm not trying to say that strict "Chinese mother" style parenting was solely the cause that lead to her depression and suicide nor will it result in all kids burning out later on in life.

But I do hope it shows that this parenting style isn't a proven template that results in all kids turning into the success stories that author Amy Chua gives herself credit for raising.

*media: please note this answer is marked "not for reproduction"

UPDATE 1/9: I emailed author Amy Chua
this evening (1/9). Expressed my disappointment about the WSJ piece and
pointed to this Quora thread. To my surprise I received a prompt reply
from her that said:

Dear [redacted]:  Thank you for taking the time to write me, and I'mso sorry about your sister.  I did not choose the title of the WSJ excerpt, and I don't believe that there is only one good way of raising children.  The actual book is more nuanced, and much of it is about my decision to retreat from the "strict Chinese immigrant"model.
Best of luck to you,
Amy Chua


Well, the editor at the WSJ who made up the headline ...and her publisher must be happy at all the buzz and traffic this excerpt has gotten. Unfortunately, I think it comes at the expense of being able to get across the "nuance" she speaks of and definitely doesn't indicate that she has since retreated from the "strict Chinese immigrant" model we're all debating. Clearly it's because we're all expected to buy the book. I get it. Hit a nerve. Drive traffic to WSJ. Make her look evil. Penguin sells books. She gets a cut and gets to say she was just kidding about being a superior Chinese mother. Everyone profits there. Is that the play? Whatever.

UPDATE 1/13:
It appears that the author is making her rounds in the U.S. media with a softer tone and accusing WSJ of misrepresenting her. Great strategy. Looks like it's working. Meanwhile, friends in China share that the Chinese version of her book is out soon via CITIC. Chinese title reads: "Being a Mother in America" -- Again, I have to give her credit. She plays both sides well. See link below. (h/t @goldkorn via Twitter)

China version. Slightly different cover art from the U.S. version if i'm not mistaken. Maybe she'll claim she had no idea about the Chinese title too. I'm sure sales will do well in China. No shortage of Chinese mothers who dream of being able to raise their child in the U.S. and see them become "successful"

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2011年3月2日星期三

Why do many people and critics think that Empire Strikes Back was better than Star Wars: A New Hope?

Why do many people and critics think that Empire Strikes Back was better than Star Wars: A New Hope?

I think Empire is narratively the best film of the original trilogy, by far. Collin Barrett brilliantly explains in his answer above the point about a clear protagonist and antagonist, something lacking in the first film but crystal clear in the second. Those points are really at the heart of why the narrative is superior in the second film -- if you don't know who your story is about, and you can't identify a clear, singular obstacle, then a quest tale of this sort is going to have some structural problems.

The actual role of the supporting characters is also so much clearer and more powerful in the second film, and it is much more driven by the character arcs than by plotting. Not that the first film lacked narrative or good character arcs, but just that it was clearly a film in which "this happens, and then this happens" is really the primary way events moved forward, instead of the relationships and character development taking the story where it needs to go.

There is also a lot more emotional heft to this story, and this is because the narrative is stronger and more focused on characters. The darkness and loss of this chapter are possible only because it is so rooted in strength of arcs and themes, and it leads to an emotional investment in these people and their fate.

Additionally, I listed these examples when I answered another question (What is the best film of the Star Wars trilogy and why?). So here are some other reasons, lifted from that answer:

  • It has the greatest light saber duel of the series
  • It has the single greatest line of the series (Vader: "I... am your father.")
  • It has the second-greatest line of the series (Han: "I know")
  • It has the best moments depicting Yoda ("That... is why you fail") in the series
  • It has the best Vader uniform of the series
  • It has the Hoth battle sequence, probably the best battle sequence of the entire first trilogy (one of the answers given by someone which I agreed with on that other question)
  • It has that fabulous chase through the asteroid field that is the best space chase sequence of the series
  • It may be the only film of the series with true twists and shocks (the door opening at Cloud City to reveal Vader at the table, Leia shouting out to Han that she loves him, Luke fighting fake-Vader in the cave on Dagobah only to see his own face under the mask, Vader revealing that he's Luke's father)
  • It introduces Boba Fett
  • It has the most buy-in to the characters of any film in the series (meaning it's the best distillation of every individual character and the actors are really going all-in to portray their emotions and personalities).
  • It has a powerful, chilling musical score that is the best of the series
  • It has an epic feel to its moments and themes that gives it an air of classic legend

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2010年12月27日星期一

ABC Admits to Voting Issues on 'Dancing With the Stars'

The network says the problems "affected each finalist equally."

ABC admits it faced voting issues this week on Dancing With the Stars.

Producers said Tuesday the contestants received a "record amount of activity," which overloaded its online and phone voting system after Monday's final competition show. The network has been denying voting issues all season in light of Bristol Palin's longevity on the show. PHOTOS: What critics said about Bristol this year.

"Some viewers reported experiencing difficulties registering their votes for the Dancing With the Stars finale, which affected each finalist equally," show producers said in a statement, as obtained by the Huffington Post. "The issue was promptly addressed [and voting times were not extended]."

Jennifer Grey, best known for her Dirty Dancing role, was crowned the winner Tuesday night. Palin came in third.

The controversy surrounding Palin spiked ratings this season, and delivered a solid lead-in for Skating With the Stars' premiere Monday.

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2010年12月25日星期六

CBC Sitcom Plays Foreign Terror Threats For Laughs

Public broadcast to air homegrown spy-fi comedy that spoofs TV's secret agent genre.

TORONTO -- Most Canadians know their little-known spy agency is a joke, so the Canadian Broadcasting Corp. (CBC) isn’t letting that go to waste. 

The public broadcaster is set to debut in early JanuaryInSecurity, a spy-fi sitcom about bungling Canadian secret agents trying to liquidate terrorists from Ottawa as part the fictional National Intelligence and Security Agency (NISA).

“It’s a bit of a comic book world we’re trying to create,” InSecurity showrunner Kevin White said of Canada’s version of Fox’s 24, only with laughs. 

“Canada can save the world, with permission to screw up on our own. No parents are watching,” he added.

The homegrown comedy is loosely based on the Canadian Security Intelligence Service, Canada’s spycatchers, and is largely taxpayer financed, with coin coming from the CBC, Canada’s public broadcaster, public subsidies and provincial tax credits.

That’s like the U.S. government paying to produce and air an action comedy that mocks Homeland Security, the CIA or other agencies fending off security threats.

The way White tells it, Canada is not the United States or Britain, and Canadians, living on the margin of world affairs, need a laugh or two as the war on terror plods on.

“Terrorism and threats on our security and safety can be tiring and scary, and we wanted to look at the lighter side,” he explained.

White does more than number spies among his friends. His mother was a long-time spy with the Canadian Security Establishment, Canada’s intelligence gathering agency, at the height of the Cold War.

That said, he insists InSecurity is an equal-opportunity spoofer, and CIA agents come in for some ribbing in one episode.

“They’re (CIA) are suspicious of the Canadians. They’re not sure that the Canadians can get the job done, which doesn’t seem appropriate to me,” White insisted.

That should have the U.S. Embassy in Ottawa cueing the TIVO after recent Wikileaks U.S. cable revelations pointed to American diplomats complaining about unkindly depictions of U.S. border agents in CBC primetime series like The Border, an action drama about an elite Toronto immigration and customs tactical team butting heads with U.S. Homeland Security agents.

“I always thought The Border should be a comedy, so that’s what we’re trying to do here,” White said.

While InSecurity does play the spy game for laughs, White admits the homegrown sitcom also satirizes Canada’s long-standing inferiority complex when it comes to its standing in the world.

“This show works from a position that we (Canada) may be number two or three or eight, but we mean well and at the end of the day this group (NISA) has everyone’s back,” he explained.

InSecurity, created and executive produced by Kevin White, Virginia Thompson and Robert de Lint, is to bow on the CBC from Jan. 4.

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2010年12月19日星期日

'Bullets' Guns Down Chinese Box Office

The film stars Chow Yun-fat and Ge You in an Eastern Western.

HONG KONG – Actor-director Jiang Wen’s Let the Bullets Fly topped the Chinese box office with a bombastic opening to become the first certified 2010 Christmas hit in China. 

The period dramedy, starring Jiang, Chow Yun-fat, Ge You (If You Are the One), and Carina Lau (Detective Dee), opened with 13,000 screenings on Thursday, 5000 more than all the other films combined at the same time in China.

The exhibitors’ vote of confidence anticipated audiences’ enthusiasm, and helped the film ruled the box office with a $4.2 million first day take. The film’s studio, Emperor Motion Pictures, expects the hit to cross the 100 million yuan ($15 million) threshold at the box office before the weekend is over.

Its opening midnight shows reportedly recorded 765,000 admissions, overtaking the record Avatar made with 763,600 earlier this year. The film rides the continuing expansion of China’s exhibition market, culminating with the 600 million yuan-grossing Aftershock last summer. Bullets will face competition from Aftershock director Feng Xiaogang’s upcoming sequel to his 2008 hit, If You Are the One 2, opening on December 22.

Let the Bullets Fly is scheduled for release in Hong Kong in January.

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2010年12月16日星期四

3D TV Channel Announces Six New Series

Joint venture of Sony, Discovery and Imax expects to have an estimated 200 hours of 3D programming by the end of 2011.

For emerging 3D channels -- including the 24/7 entry slated to launch in early 2011 as a joint venture of Sony, Discovery Communications and Imax -- one of the key challenges is to make available a steady stream of content.

The joint venture on Monday announced six new titles to its planned network programming slate, and it expects to have an estimated 200 hours of 3D programming by the end of 2011.

The result could be among the world's largest libraries of 3D content, and the majority of it would be original productions commissioned by the channel, according to Tom Cosgrove, president and CEO of the venture.

As the channel is for the U.S. market, this library may also become available to 3D ventures launching in other countries.

"We are certainly considering it," Cosgrove told The Hollywood Reporter. "We are in initial conversations with folks about doing that. ... The big complaint that most people have about 3D is that there is just not enough to watch, so part of the mission of the channel is to fill that gap."

At this stage, the venture is focused on creating native 3D content rather than converting 2D material to 3D.

"We are still evaluating (conversion) technology," Cosgrove said. "For us, the sweet spot of an affordable price to do this as close to flawless as possible hasn't quite come together. ... At this point, our emphasis has been on native 3D productions or acquiring content that was shot in native 3D.

Production for the venture is testing a Sony prototype camcorder that was previewed this year. It also is putting through the paces another prototype of a 3D camera that was built by Sony and co-developed with Discovery, also unveiled this year.

However, Cosgrove said that his venture is "fairly agnostic in terms of the brands of cameras that we use. There's lots of different rigs out there and single-body cameras."

Cosgrove also noted that Imax is working on proprietary conversion technology to prepare its large-format films for the small screen.

"What is meant to be seen on a 70-foot screen requires some changes to the convergence," he said. "They have been able to bring it into that television format."

To speed production, the venture has encouraged training at Sony's 3D Technology Center on the Culver City lot. "We have sent through hundreds of people already for those classes," Cosgrove said, adding that the organization has paired new 3D filmmakers with experienced ones for field training.

Content announced Monday included three original series -- with the working titles Bullproof, High Octane and Making the Brand -- and three acquisitions: Discovery's Ghost Lab, Sony Pictures' Open Season and Imax's Space Station.

This programming will be added to a lineup of previously announced content including African Wild (working title), China Revealed (working title), Jewels of the World (working title), Attack of the Giant Jellyfish, The Haunted, Into the Deep 3D, Magnificent Desolation: Walking on the Moon 3D, Cloudy With a Chance of Meatballs and Monster House.

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2010年12月14日星期二

Ryan Gosling: Indie Films Don't Pretend to Know Everything

"Things like a Golden Globe help raise awareness for the film that is immeasurable," the "Blue Valentine" star tells THR.

Ryan Gosling, reeling from a long day of promotion for Blue Valentine, was a little knackered but still thrilled at the movie’s twin nominations, one for him, the other for Michelle Williams, since it would shine a spotlight on the little movie that could.

It’s great for the film,” he said. “When you make a small move like this, things like a Golden Globe help raise awareness for the film that is immeasurable. You can go out and promote the film all you want, but it can’t give the film as much of a voice as something like this.”

Gosling said he loves to work in the indie sphere since their smaller budgets equate, to him, creative freedom.

“Not to discriminate against budgets, I feel that independent films tend to ask more questions and don’t pretend to know as much as the bigger films, which tend to think they know everything.”

Gosling planned on resting up for a Blue Valentine reception being thrown by Ben Kingsley. “I’ve never met him so I’m excited.”

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