ABSTRACT
Many years of viewing animation around the world have given me a clear memory of several East Asian characters—Chinese, Japanese, and Korean—in Hollywood's animated films: Chinaman's Chance (Ub Iwerks 1933) from the Flip the Frog series; Censored (Frank Tashlin 1944), and Operation SNAFU (Friz Freleng 1945), both of the Private SNAFU series; and Disney's classic feature The Rescuers (Wolfgang Reitherman et al. 1977). My South Korean identity did not let me watch these indifferently or easily forget the characters in the films, because I could have been among them, or because the cultural gaze through which the films depicted them could apply to me as well; me as an embodied entity of socio-political values.
