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Performing Chinatown: Hollywood Cinema, Tourism, and the Making of a Los Angeles Community, 1882-1943

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Performing Chinatown: Hollywood Cinema, Tourism, and the Making of a Los Angeles Community, 1882-1943 Performing Chinatown: Hollywood Cinema, Tourism, and the Making of a Los Angeles Community, 1882-1943 By William Gow A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Catherine Ceniza Choy, Co-Chair Professor Shari Huhndorf, Co-Chair Associate Professor Weihong Bao Associate Professor Michael Omi Spring 2018 Copyright © 2018 by William Gow Abstract Performing Chinatown: Hollywood Cinema, Tourism, and the Making of a Los Angeles Community, 1882-1943 By William Gow Doctorate in Philosophy in Ethnic Studies with a designated emphasis in Film Studies University of California, Berkeley Professor Catherine Ceniza Choy, Co-Chair Professor Shari Huhndorf, Co-Chair Examining a period of national debate over immigration and U.S. citizenship, this dissertation foregrounds the social, economic, and political contexts through which representations of Chinatown in Los Angeles were produced and consumed. My dissertation asks: how did Chinese Americans in Los Angeles create, negotiate, and critically engage changing representations of Chinatown? To what extent did popular representations and economic opportunities in Hollywood inform life in Los Angeles Chinatown? And in what ways were the rights and privileges of U.S. citizenship and national belonging related to popular representations of Chinatown? To answer these questions, this project examines four different “Chinatowns” in Los Angeles—Old Chinatown, New Chinatown, China City, and MGM’s set for The Good Earth—between the passage of the Chinese Exclusion Act in 1882 and the law’s symbolic repeal in 1943 during World War II. Whereas scholars have long argued that the geopolitical context of the Second World War and in particular the U.S. alliance with China led to both to the repeal of the Chinese Exclusion Act in 1943 and a general increase in opportunities for Chinese Americans, my dissertation presents a different narrative. Building on film studies scholars who trace the birth of cinema to the overlapping forces of modernity and urbanization at the turn of the century, I argue that the same transformations in urban visual culture that led to the development of film also transformed Chinatown into a medium of cultural production. Tracing the co-evolution of Chinatown and cinema as overlapping media forms between the arrival of the film industry in Southern California and the openings of New Chinatown and China City in Los Angeles in 1938, I demonstrate the myriad ways that Chinese American merchants, background extras, and others in Los Angeles repositioned Chinatown as part of, rather than distinct from, the idea of a modern cosmopolitan city. In the process, I analyze the ways that Chinese Americans utilized performance in Hollywood film and Chinatown to lay the groundwork for the incorporation of Chinese Americans into the nation-state under the logic of racial liberalism during World War II. In making this argument, my project places the everyday actions and performances of Chinese Americans at the center of discussions of American Orientalism demonstrating that the increasing inclusion of Chinese Americans into the United States was not the product of geopolitical forces alone. 1 Table of Contents Introduction................................................................................................................................... 1 Chapter 1: Chinatown and the Urban Tourism ...................................................................... 19 Chapter 2: Old Chinatown and the Suburban Dream of Los Angeles.................................. 45 Chapter 3: Chinese American Background Performers and MGM’s The Good Earth....... 75 Chapter 4: New Chinatown and China City .......................................................................... 100 Chapter 5: China War Relief Festivals in Old Chinatown ................................................... 126 Conclusion ................................................................................................................................. 145 i Acknowledgments This dissertation has its genesis in the eight years I spent as a public historian in Los Angeles Chinatown before entering the doctoral program in Ethnic Studies at UC Berkeley. In the fifteen years since I began the work of documenting the history of the Chinese American community in Southern California, I have had the honor to be supported and mentored by more people than I can possibly name. Sadly, a few of my mentors and community supporters have not lived to see this project completed, but their influence on the project remains. I would not have been able to complete this dissertation without the support of so many family, friends, and colleagues. At the CHSSC and in the Chinese American community of Los Angeles, I would like to thank Gilbert Hom, Gordon Hom, Eugene Moy, Linda Bentz, Vincent Huynh, Fenton Eng, Jenny Cho, Stan Lau, Katherine Kwok, Dr. Ruby Ling Louie, Eleanor Yee, Peter SooHoo Jr., Jennie Lee Taylor, and my uncle Richard Chee. At UCLA, I would like to thank Meg Thorton, Irene Soriano, Marji Lee, Valerie Matsumoto, Don Nakanishi, Thu-Huong Nguyen-vo, David Yoo, and Robert Nakamura. At UC Berkeley thanks goes to Ling-chi Wang, Christian Paiz, Richard Candida Smith, Chris Zepeda- Millan, Tom Biolsi, Keith Feldman, Ula Taylor, Lok Sui, Harvey Dong, and Tony Kaes. My work would not be possible without the many librarians, archivists, and staff at institutions across the country that helped me locate primary source material. Thank you to Sine Hwang Jensen, Lily Castillo-Speed and the rest of the staff at UC Berkeley Ethnic Studies Library, Kim Zarate and Joelle Warklick at the Chinese American Museum of Los Angeles, Li Wei at the Huntington Library, as well as the staff, librarians, and archivists at institutions including the Los Angeles Public Library, Margaret Herrick Library, UCLA Special Collections, UCLA Asian American Studies Reading Room, Rare Books and Special Collections at Princeton University, Rare Book and Manuscript Library at Columbia University Special, Hoover Institute at Stanford University, UC Santa Barbara Special Collections, and California State University Northridge Oviatt Library Special Collections. Numberous scholars and collegues have taken time to advise, support, comment on, or discuss my research with me. I would like to thank Eichiro Azuma, Bill Deverell, Merry Ovnick, Greg Robinson, Neil Foley, Jack Tchen, Scott Wong, Kathy Yep, Teresa Barnett, Martin Meeker, Jan Lin, Isa Quintana, Laureen Hom, Lawrence Lan, Lon Kurashige, Daryl Maeda, Gordon Chang, Judy Wu, Peter Feng, Denise Khor, Ramona Curry, Josh Sides, and Judy Yung. I would not have been able to successfully navigate through UC Berkeley without the support of the staff of the Ethnic Studies Department. In particular I would like to thank Latonya Minor, Maria Heredia, Dewey St. Germaine, and Jennie Imazumi. I would also like to thank Rachel Rienhard at the UC History Social Science Project as well as the staff of the Film and Media Studies Department. I would not have become the scholar I am without intellectual support and conversation with my fellow graduate students at UC Berkeley. Thanks goes to the members of my UC Berkeley cohort in Ethnic Studies: Tasha Hauff, Katie Keliiaa, David Preciado, Melanie Plasencia, Ina Keller, and Sonia Hart. The various members of my Asian American Asian Diaspora Studies Working group at UC Berkeley helped provide feedback on various versions of this project. Thank you especially to Rachel Lim, Jeff Yamashita, Takeo Rivera, Mihiri Tillakaratne, Ramya Janandharan, Daniel Woo, and Evyn Espirtu. ii Living in San Francisco and yet spending so much time in Los Angeles, I am grateful for the many family and friends who supported my research trips and opened their homes to me including Lisa and Mike Deaderick, Tim Brocket, Sharon and Dave Phosolly, and Jenny and Generao Mejia. The members of my dissertation committee helped me shepherd this project to its completion. Thank you to Weihong Bao and Michael Omi for reading and commenting on the dissertation and always being open to conversation and questions. A special thanks goes to my dissertations co-chairs: Cathy Choy and Shari Huhndorf. I could not have picked a more supportive pair of scholars to help me complete this project. Cathy and Shari read multiple versions of every chapter while commenting and providing detailed feedback. Thank you both for exemplifying what mentorship looks like. Finally, I would like to thank my family. My in-laws Suchen and Hong Chi Chang provided support and childcare whenever I needed it. My parents and especially my mom instilled in me a love of learning, reading, and writing early in my life and always supported my goals no matter how unattainable they sounded. I would never have moved to New York to major in Cinema Studies as an undergraduate if my parents hadn’t supported my dreams. My eternal thanks goes to my life-partner Mary for supporting this crazy goal of returning to school to get my Ph.D. even in my thirties and to Miles and Malcolm who who have never know their father as anything but a student. Thank you all for your support and guidance. San Francisco, California May 2018 iii Introduction Surveying the parade as it passed by the reviewing stand and through the West Gate into New Chinatown, Peter SooHoo must have
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