Disease, Distress, and Discord of Being the Daughter of Fu Manchu: Anna May Wong

Anna May Wong: The Demon Hunter

During the Chinese Massacre of 1871 in California, some 500 rioters entered Chinatown and killed, mutilated, and lynched “Chinamen.” Instead of finding gold, Chinese immigrants found themselves often being hunted and murdered for sport.

Additionally, these were men without women, for they had left their wives and sweethearts in China. Finally, when they were able to bring women, a new hope for a new life began. Born close to Chinatown, Anna May Wong (1905-1961) grew up within the dream of that hope, but she remained under the shadows of the pervasive racism of hate and the stereotypes created by yellow pulp fiction and Hollywood.

In spite of that, she became the first Chinese American international superstar.

Throughout her career, she found herself in stereotypical roles where Asian women were either vilified and/or sexualized. These whitewashing stereotypical roles help to cultivate a type of brainwashing of the masses because people continued to judge Asians as sub-humans.

Hungry Ghosts and Fu Manchu

Despite that, audiences were very captivated and mesmerized by her beauty. This essay functions as a sort of exorcism from the bizarre indoctrination of the cult condition known as the Bewitching Curse of the Postcolonial “Disease of the Damned, Being the Daughter of Fu Manchu” Syndrome.

The purpose here is to wipe away the plague of trinity demons: racism, sexism, and anti-egalitarianism. We shall deconstruct the colonial logocentrism or mind control that poisons Western thoughts by examining some of her iconic roles, and how she tried to transcend them.

Entering the Oriental Express

To everyone, she represented the Oriental mystique, some sort of lost fragile, forgotten gypsy-like fortune cookie, an Asian American Hollywood actress. However, she was actually a Chinese Demon Hunter.

At night, they came to visit her: abused, raped, and often strangled to death. These muted shapeshifting Asian girls sat on her bed emotionless, energyless, and lifeless.

Often these female ghosts only wanted back their lives, back their childhood, and back their respect, but that was now impossible.

Instead, they silently sat there, just waiting. . .

So it began, night after night. They came. Her room became crowded. There was even a waiting room full of more girls. These were the victims of the War in Asia, caused by Japanese soldiers attacking China, Hong Kong, the Philippines and various other countries.

Shamaness Wong, the Demon Hunter became the exorcist who strives to release these tortured souls from the deepest hell called the hungry ghost realm and to allow these undead like beings to be reborn into the human realm.

However, this time, these beings would seek vengeance and attach to those who caused their torture and trauma.Racial and ethnic disparities show up in futurity of life.

These Reborn Ghosts would become themselves become great shamanesses with a mission to make sure the Reborn Demons would remember their abused victims.

Finally, the goal remains to make these Sad Lonely Chinese Woman who are pretending to be human, to live in a life full of hell as their fake human lives become a series of damning repeated traumatic tortures.

A Hell for a Hell. A Deadness for a Deadness. A Dreadness for a Dreadness. A Doomed life for a Doomed life. . .

As each girl was born, not screaming at birth, but silent and resolute, on a mission to hunt down the demons and seek a sense of "Boa" or eternal justice. They would be rushed to the Neonatal Intensive Care Unit (NICU), eyes open and alert, planning their revenge. . . Shamaness Wong Liu Tsong would be there along side them, smiling and singing . . .

Chapter 2 : The Oriental Mistress

Love me less

Love me more . . .

Shamaness Wong was first and foremost an actress trying to make Hollywood respect her as a human, and not as some type of Oriental stereotype.

There, he stood before her. She was not allowed to kiss him on screen, nor she was not allowed to kiss him in public. In secret, they became lovers. In most states in America, like Oklahoma, a white male was not allowed legally allowed to marry a woman of color, specifically Negros, but Orientals were also targeted.

The Ku Klux Klan made sure this abomination would not occur. Indeed, first motion picture created, The Birth of a Nation (2015) romanticized this racist and terrorist organization.

Sadly, Hollywood was impacted by these cultural codes of racism and sexism, so glorious industry didn't want to offend the public, so the Hays Code was established to make sure Hollywood matched these social codes of oppression in the name of making as much money as greed would allow all in the name of marketing.

In Anna May Wong's films she would follow the code. She was part of another cultural code called Neo-Confucianism were women were looked as the weaker sex. In actuality, the matriarchy was originally the powerful gender and ruled. The patriarchy rose up, rebelled, and destroyed the matriarchy.

However, Madame Shamaness Wong knew the truth. Women rule this world. Not men.

He was from Florida. He had connections to the first national version of Hollywood called Jacksonville. Originally, Florida was supposed to be the film capital of America because it was warm year round and would be perfect for the film industry, but it moved.

More is coming