Anna May Wong (January 3, 1905–February 3, 1961) was the first Chinese American movie star and the first Asian American actress to gain international recognition. Wong broke the codes of yellowface in both American and European cinema to become one of the major global actresses of Asian descent between the world wars. She made close to sixty films that circulated around the world and in 1951 starred in her own television show, The Gallery of Madame Liu-Tsong, produced by the defunct Dumont Network. Examining Wong’s career is particularly fruitful because of race’s centrality to the motion pictures’ construction of the modern American nation-state, as well as its significance within the global circulation of moving images.
Born near Los Angeles’s Chinatown, Wong began acting in films at an early age. During the silent era, she starred in films such as The Toll of the Sea (1922), one of the first two-tone Technicolor films, and The Thief of Baghdad (1924). Frustrated by Hollywood roles, Wong left for Europe in the late 1920s, where she starred in several films and plays, including Piccadilly (1929) and A Circle of Chalk (1929) opposite Laurence Olivier. Wong traveled between the United States and Europe for film and stage work. In 1935 she protested Metro-Goldwyn-Mayer’s refusal to consider her for the leading role of O-Lan in the Academy Award–winning film The Good Earth (1937). Wong then paid her one and only visit to China. In the late 1930s, she starred in several B films such as King of Chinatown (1939), graced the cover of the mass-circulating American magazine Look, and traveled to Australia. In 1961, Wong died of Laennec’s cirrhosis, a disease typically stemming from alcoholism. Yet, as her legacy shows, for a brief moment a glamorous Chinese American woman occupied a position of transnational importance.
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of American History. Please check back later for the full article.
During the late 19th and early 20th centuries, a new image of womanhood emerged on the American cultural scene, shaping public views and understandings of the changing role of women in society. Identified by contemporaries as a Gibson Girl, a suffragist, a Progressive reformer, a bohemian feminist, a college girl, a bicyclist, a flapper, a working-class militant, or a Hollywood vamp, all of these images came to epitomize the New Woman, an umbrella term that marked a modern understanding of femininity. Referring both to real, flesh-and-blood women, and to an abstract idea or a visual archetype, the New Woman represented a generation of women who came of age between 1890 and 1920 and challenged gender norms and structures by demanding a public voice and personal fulfillment through work, education, and political engagement, while also connoting a distinctly modern appearance that contrasted the Victorian ideal. As a cultural phenomenon, the New Woman became associated with the rise of feminism and the campaign for women’s suffrage, as well as with the rise of consumerism, mass-culture, and freer expressions of sexuality that defined the first decades of the 20th century. Emphasizing youth, mobility, freedom, and modernity, the New Woman image varied across categories of age, class, race, ethnicity, and geographical regions, offering a spectrum of behaviors and images with which different women could identify. At times controversial, the New Woman image nevertheless provided women with possibilities to negotiate new social roles and to promote ideas of equality and freedom that later entered the cultural mainstream.
Melissa A. McEuen
The Second World War changed the United States for women, and women in turn transformed their nation. Over three hundred fifty thousand women volunteered for military service, while twenty times as many stepped into civilian jobs, including positions previously closed to them. More than seven million women who had not been wage earners before the war joined eleven million women already in the American work force. Between 1941 and 1945, an untold number moved away from their hometowns to take advantage of wartime opportunities, but many more remained in place, organizing home front initiatives to conserve resources, to build morale, to raise funds, and to fill jobs left by men who entered military service.
The U.S. government, together with the nation’s private sector, instructed women on many fronts and carefully scrutinized their responses to the wartime emergency. The foremost message to women—that their activities and sacrifices would be needed only “for the duration” of the war—was both a promise and an order, suggesting that the war and the opportunities it created would end simultaneously. Social mores were tested by the demands of war, allowing women to benefit from the shifts and make alterations of their own. Yet dominant gender norms provided ways to maintain social order amidst fast-paced change, and when some women challenged these norms, they faced harsh criticism. Race, class, sexuality, age, religion, education, and region of birth, among other factors, combined to limit opportunities for some women while expanding them for others.
However temporary and unprecedented the wartime crisis, American women would find that their individual and collective experiences from 1941 to 1945 prevented them from stepping back into a prewar social and economic structure. By stretching and reshaping gender norms and roles, World War II and the women who lived it laid solid foundations for the various civil rights movements that would sweep the United States and grip the American imagination in the second half of the 20th century.