Double Happiness In Canada

Double Happiness
Double Happiness demonstrates how the force of media, production, and family dehumanize and objectify cultural hybrids. This objectification is defined by the process by which human potential is transferred to a materially existing form, setting one away from their unique nature. This is accomplished through the community’s ideal conception which inaugurates a low degree of integration and high degree of isolation in Asian Canadians. In turn, this pushes their consciousness towards internalizing particular values and objectives. This organization driven by those within a higher status in the system ensure exploitation and erase the line between person and persona; thus, the characters are designed as instruments and face a
This impact is immensely shown in the various roles offered in the theatrical world. For instance, when Jade recites the script written in first person while rehearsing, she associates with the “I” in the content as if it is her. This narrative provides her with a position into which she can insert herself and experience the world as it was encountered by the original character. In taking such a view, she accepts the feelings, opinions, and beliefs presented to her. As a matter of fact, this scene emphasizes the transitional change in the qualities distinctive to her identity as she is presented in a shadow symbolizing by her body altering between both surfaces. In a similar manner, when viewing the film, the audience is presented with a position that provides a fixed view on the action, allowing them to naturally accept the ideas represented in the script. In addition, Jade experiences the frustrations of her identity crisis in the audition she attends as she must identify as a one dimensional role of a waitress with the sole purpose of satisfying the protagonist’s desires rather than a character in her own right. Moreover, when she reads her lines in a normal voice, the director had asked Jade to talk with an accent, forcing her to belittle herself by saying “A very
From an observer’s perspective, the film only uses Jade’s physical structure starting from her neck and below, dehumanizing her character to an object of visual pleasure to be gazed upon. This message puts an unrealistic standard on the bodies of women of colour, causing self-objectification to occur in response. In fact, this experience had given Jade an idea of the range of properties and abilities she can have and what her limits are. Not only do individuals in film become targets of identity change, but the media also constructs and upholds a narrow standard for the society on what it means to be “this or that”. In other words, the images in the media shape people’s perception and challenge their everyday beliefs about others. For example, the visual absence of Asian Canadians in pop culture has compelled the Asian community to adapt the personalities of different backgrounds in their desire for social and cultural mobility. The images of predominantly white groups dominate the main roles; thus, Jade rarely sees the portrayal of her own race depicted in a positive