Film Matters: Please tell us about your article that is being published in Film Matters.
Emily Nighman: This article compares Disney’s original 1998 animated film, Mulan, and the 2020 live-action remake to examine the negative and positive treatment of Chinese/American representation in each film. The article also places the films into broader discourses surrounding race and gender studies, as well as the sociopolitical contexts surrounding the films’ production and release.
FM: What research and/or methodologies do you incorporate in your article?
EN: It was important to me to base my research primarily in the scholarly and critical response of Asian/American writers. Also, due to the recent release of the 2020 film, there were not many peer-reviewed publications on the Mulan remake. Therefore, I had to rely on newspapers and trade journals for critical and audience reception, which helped place the film within our current social context.
FM: Describe the original context for/when writing this article while an undergraduate student.
EN: This article was originally written as the final paper for Dr. Philippa Gates’s fourth-year seminar “Asian/Americans in US Film,” which focused on the negative and positive representation of Asian identities within white-dominant Hollywood production as well as Asian/American filmmaking from the silent era through classical Hollywood to contemporary times.
FM: How have your personal experiences shaped and influenced your writing?
EN: Growing up in a multicultural city in Canada, I have had numerous friends of Asian heritage. Throughout the past few years, with the rise of anti-Asian hate in North America, it has been difficult to hear of my friends’ experiences and see the violence on the news. Therefore, I hope that my article can contribute meaningfully to necessary discussions about race and representation in the media.
FM: What aspects of the writing process were most challenging? Why?
EN: There is so much to say about Chinese/American representation and feminist themes in these two films that it was challenging to narrow my focus. I hope that this article provides a detailed overview of the variety of perspectives on these topics, but my argument could be expanded into a much larger study that was beyond the scope of this article.
FM: What do you enjoy most about your article?
EN: Most of all, I enjoy that my article explores the many cultural and political factors that influence film production. Some are more conscious choices, such as review by government regulatory boards, and some are more ingrained in the industry’s culture, such as a long history of problematic stereotypes. My article attempts to unpack how all these dynamics coalesce into finished products.
FM: How has the Film Matters editorial and publication process impacted the development/evolution of your article?
EN: Since this is my first publication, the peer review process was eye-opening. It was very valuable to receive impartial feedback on my article’s strengths and weaknesses, which helped me to reevaluate some of my arguments and make them more convincing for the final publication.
FM: What audience do you hope to reach with your Film Matters article and/or what impact do you hope it has on the field of film studies?
EN: One of the things I hope readers take away from my article is that the global film market, especially in China, is becoming increasingly influential and significantly impacts the decisions made by filmmakers and studio executives. Therefore, not only is it important to accurately represent the rich cultural diversity within North America, but it is becoming crucial to be cooperative and sympathetic to representation in other countries.
FM: How has your department and/or institution supported your work in film and media?
EN: The Film Studies program at Wilfrid Laurier University is very active. The professors are incredibly supportive, they offer a vast variety of interesting courses, and there are numerous opportunities to become involved outside the classroom, including social societies and symposiums where students can share their research.
FM: How has your faculty mentor fostered your advancement as a film scholar?
EN: Dr. Gates is an engaging and supportive mentor who inspires her students to engage more deeply with the material and think about the broader implications of film in our society. She encouraged me to submit this article to Film Matters and I am sincerely grateful for her support and guidance.
FM: What advice do you have for undergraduate film and media scholars?
EN: Hollywood cinema has a fascinating history and many of the films are masterpieces, but there is also a wide world of incredible films from other national cinemas around the world. Try to take courses that introduce you to films beyond your borders. It is an amazing way to open yourself up to viewing new experiences and perspectives!
FM: What are your future plans?
EN: After graduation, I plan to attend graduate school to obtain a Master of Arts in film, media, or communications. Then I hope to work at an international media company or film studio/organization to promote diverse representation and cooperative globalization.
Author Biography
Emily Nighman recently graduated from the BA program at Wilfrid Laurier University. She has taken a year off to work, but plans on attending the University of Toronto in September 2023 to pursue a Master of Arts in Cinema Studies.
