The blood-washed massage parlor, shooting and killing eight people, but obtained the forgiveness of the American police:
"The suspect probably did this because he had a bad day."
Why is 8 lives not worth this "bad 1 day"?
On the face of it, it's a race issue — 6 of the 8 victims were Asian-American women.
And at a deep level, it's a cultural conjecture — deep-seated Orientalism that sows a "slutty impression" of Asian-American women in the hearts of white Americans.
As the murderer said:
"The women in these massage parlors are seducing me, and only by killing them can my sex addiction be cured."
Why did Asian women become the embodiment of sexual fantasies for whites (including some blacks)? Why does American society put the "slut label" subconsciously and impose it on the Asian women group?
Let's turn the clock back to October 17, 1834.
On the new main road in the United States, a cargo ship called the Washington brought a special "commodity".
The item satisfied the appetite of the immigrants, because the Kahn brothers, who sold this "special commodity", declared:
"All your imagination of the East will be seen as believing."
The Kahn brothers displayed the goods in the window of the commercial center, and the curtain was opened, and the immigrants finally saw this special commodity.
A Chinese woman.
The 19-year-old girl, "afong moy" (translated as "Mei Afang"), a Cantonese native, had a pair of three-inch golden lotuses that were unheard of by Americans and was packaged as the daughter of a Manchu prince.
Dressed in a cheongsam, Mei Afang sat demurely, and every few minutes, she gave a welfare show to the white people who had purchased tickets: she stood up and walked a few steps in the living room to show her little feet.
The whites stared greedily at her little feet and curves, and for that glance they paid 25 cents for the ticket.
This is the first time that an Asian woman has appeared on the American continent. Mei Afang constructed the American subconscious imagination of Asian women: pleasing their goods, lurking in the heart of the Oriental sexual fantasy.
Three years later, the San Francisco-based English-language media put it bluntly:
"Chinese women are sexy and obedient, mysterious and seductive dolls."
The gross imbalance in the gender ratio in the Chinese community in North America and the sexual fantasies of Americans about Asian women are giving birth to a shadowy industry , the sex industry.
Guangdong women were lured or kidnapped to North America to serve men, and in 1860 the proportion of Chinese women among sex workers jumped to between 85% and 97%.
The hypocritical white society, while lingering, on the other hand, denounces the yellow woman as a symbol of backwardness and depravity.
The label of "prostitute" has since been applied to Asian women.
When a general stereotype is formed in a society, it is almost impossible to break through by relying on individual strength, and if you want to gain a foothold in this society, you have to cater to this stereotype.
Since then, Asian women who have been able to leave their names in American history have invariably contributed to this impression.
Huang Liushuang, the first Chinese woman to stay on the Hollywood Walk of Fame in the United States, played a role in the United States, either as a slave, or a prostitute, or a maid. Hollywood remembers her willow eyebrows, qi bangs, light makeup, almost naked "wind" style, and she can't win the role of reversing this "slut's imagination" at all.
It's a vicious circle.
As Huang Liushuang scolded: "I am tired of the roles I have to play, why are Chinese on the screen always evil people?" And they are very cruel and evil people--bloodthirsty, sinister, snake-hearted. We Chinese not like that. ”
Huang Liushuang had to play the "Asian horror female leader" who opposed the whites, Fu Manchu's daughter "princess ling moy", arrogant to this culture, and made a silent rebellion.
The invisible prejudice that Huang Liushuang rebelled against was summarized by scholars many years later as Orientalism.
Simply put, the East in the eyes of the West is the "East" created by Western culture. Whether as a geographical region or a cultural concept, it is a construct of Western history and culture, and it exists as the "other" as the opposite of Western culture. This is an extension of Western cultural centrism and an alienation of the Christian binary worldview.
In other words, this "East" is on the opposite side of the West. The West is freedom, the East is focused, the West is advanced, the East is backward, the West is self-love, the East is degenerate, the West is civilization, and the East is debauchery.
This duality can be traced back to the ancient Greek period, and the decline of modern times in the East and the fueling of capitalism have undoubtedly exacerbated this cultural prejudice.
After the "yellow willow cream", the West created more "yellow willow cream".
The opera "Madame Butterfly" tells the story of an American naval officer who comes to Japan and falls in love with a geisha named Qiao Qiaosang, also known as Madame Butterfly, wrapping orientalist prejudices into a redemptive love. Notice that it is the salvation of Western men to Eastern women.
Broadway's Miss Saigon inherits the core of Madame Butterfly's story, but moves the story from Japan to Vietnam.
After World War II, American soldiers stationed in Japan and South Korea patronized the "prostitution agencies" specially established for them in Japan and South Korea, and created a large number of sexual assault crimes in society.
In the new century, the rise of "asian fetish" and "yellow fever" in American culture is simply a special fetish for Asians.
On June 9, 2017, at the University of Illinois, the top Ivy League university in the United States, 27-year-old Yingying Zhang became a victim of subculture.
Brent Christensen, who killed him, became obsessed with Japanese two-dimensional culture and completed his punishment for "Asian sluts" in the form of crimes in Japanese two-dimensional comics.
Asian descent, has become the original sin of women? This reflects the deformity of American cultural psychology.
Under the clouds of Orientalism, Asian women are branded as sluts, constructed as distorted sexual fantasies, and in the final analysis, it is the arrogance of Western culture that cannot be disenchanted.