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    Home » Study finds Asian-American characters “tokens” on TV

    Study finds Asian-American characters “tokens” on TV

    By SHOOTTuesday, September 12, 2017Updated:Tuesday, May 14, 2024No Comments3547 Views
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    In this image released by ABC, Randall Park, left, and Constance Wu appear in a scene from the new comedy series "Fresh Off the Boat." (AP Photo/ABC, Nicole Wilder)

    By Lynn Elber, Television Writer

    LOS ANGELES (AP) --

    TV's Asian-American characters are so frequently slighted that even programs set in the biggest, most diverse cities leave them out of the picture, a new study found.

    For "Tokens on the Small Screen," professors and scholars at six California universities looked at 242 broadcast, cable and digital platform shows that aired during the 2015-16 season and tallied the numbers, screen time and portrayals of characters of Asian or Pacific Islander descent among 2,000 TV characters.

    The report released Tuesday, a follow-up to broadcast TV studies done in 2005 and 2006, found increasing opportunities for Asian-American actors but concluded they are still underrepresented and "their characters remain marginalized and tokenized on screen."

    There was a sense of optimism with the emergence of ABC's "Fresh Off the Boat" and "Dr. Ken" and Netflix's "Master of None," all starring and focused on Asian-Americans, said Nancy Wong Yuen, a Biola University associate professor and one of the study's authors.

    "It felt like, 'Oh, we're finally making it,'" Yuen said in an interview. "But even ("Dr. Ken" star) Ken Jeong said, "Of this many shows, we only have three?'"

    The cancellations of Jeong's sitcom and the Netflix historical drama "Marco Polo," which featured a hefty number of Asian characters, showed how tenuous the hold on representation is, the study said.

    A third (34.5 percent) of all Asian or Asian-American characters were found to be on just 11 shows — with the 14 characters on "Marco Polo" alone making up 10 percent of the total — which sets up a "risk of greater decimation when networks decide to cancel even one show," according to the report.

    The concentration of characters on a few shows also means that many viewers never see an Asian-American on screen, which the study says "effectively erases" them from a large part of the TV landscape.

    There are 155 shows that lack a single Asian-American character, including 63 of broadcast and basic cable series and 74 percent of premium cable shows, the study found.

    The exclusion is startling on shows set in urban areas. Among all New York-based shows, which has an Asian-American population of 13 percent, 70 percent of shows lacked a single series regular of that ethnicity. More than 50 percent of shows set in Los Angeles, with a population that's 14 percent Asian, lacked any such characters.

    Other study findings:

    — Among all series regulars, white characters represent 69.5 percent; African-Americans 14 percent; Latinos, 5.9 percent, and Asian and Pacific Islanders were 4.3 percent. Their numbers among the U.S. populations: white, 61.3 percent; black, 13.3 percent; Latino, 17.8 percent, Asian-Americans, 5.9 percent.

    — Four Pacific Islanders were found to be series regulars, including Dwyane Johnson of "Ballers"; Uli Latukefu of "Marco Polo"; Keisha Castle-Hughes of "Roadies," and Cliff Curtis of "Fear the Walking Dead." That represents 0.2 percent, or half of their slice of the U.S. population, the report said.

    — Eighty-seven percent of Asian-American series regulars are on screen for less than half an episode, with white series regulars on screen three times longer than their Asian-American counterparts.

    Besides Biola, the study included participants from California State University, Fullerton; University of California, Los Angeles; Thomas Jefferson School of Law; San Jose State University, and the University of San Francisco.

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    Tags:Asian-AmericansdiversityFresh Off the BoatMaster of NoneTokens on the Small Screen



    Nominees named for the CST Award for Best Young Female Film Technician at the Cannes Film Festival

    Monday, May 11, 2026
    Production designers Esther Mysius (l) and Livia Lattanzio, nominees for this year's CST Award for Best Young Female Film Technician at the Cannes Film Festival

    In light of the under-representation of women in technical roles within the French film industry, the Higher Technical Committee for Image and Sound (CST) will, for the sixth year running, present the CST Award for Best Young Female Film Technician at the Cannes Film Festival.

    The figures from 2026 highlight the need to promote and support young female technicians.

    Of the 75 technical roles in French films in the official selection, only 18 are held by women. Of these, 16 are over 40 years old, and only 2 are under 40, representing barely 3% of all the roles analyzed.

    The CST congratulates the two nominees for the CST Award for Young Female Technician Award at the 79th Festival de Cannes, who are:

    • Livia Lattanzio – Production designer for the film Les Matins merveilleux by Avril Besson (Special Screening)
    • Esther Mysius – Production designer for the film Histoires de la nuit by Léa Mysius (in Competition)

    Promoting young female technicians today helps shape a more inclusive, representative and diverse cinema for tomorrow.

    Created on the initiative of Claudine Nougaret and Angelo Cosimano in 2021, the CST Award for Best Young Female Film Technician is supported this year by photographer Sarah Moon.

    The jury comprises Michel Boujenah, actor and director, and Sylvia Landra, chief editor.

    The winner of this sixth edition will be announced on May 23.

    The CST was the first ever association of film and audio-visual technicians in France. It was founded in 1944 to promote technicians’ work and the quality of the end product for spectators.

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