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The Hypersexuality of Race

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The Hypersexuality of Race. Jean Marc Roc discusses his take on the book that brought Asiaerotica into the

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Hypersexuality of Race: (11) Questions for Jean Marc Roc

Recently, Jean Marc discussed how he views criticism of his motivations in a recently published book by author Celine Parreñas Shimizu.

Choi: You describe your films as being docueroticas. Why?

JMR: A Docuerotica means different things to different people. Basically it is a study of personal sexuality framed within the social context. Above all the sexuality must be REAL, not arranged or staged, a narrative that can stand on its own.


Choi: You mentioned before that you think Shimizu has "problems" What do you mean?

JMR: Well it starts at the beginning of the book. In Chapter 1 she talks about being mistaken for a girl that shoots ping pong balls from her vagina in the Phillippines. This is most likely made up and is used to set any potential feminist sensibilities on fire. It's ridiculous, but it shows to what extent she will distort reality to proffer her snake oil

Choi: What problems do you think she has and what is their origin?

JMR: Look at the way she writes, her tortured and conflicting prose, it's full of pretentious academic fluff. There is so much more to say about it, it is almost hard to know where to begin to unravel these types of pathologies, but let me explain it like this: Any one that knows anything about Pinoy society knows that well off, educated Philippinos are eager to wax with formality and pomposity, especially when their audience is of let us say, a lighter shade of skin colour? Needlessly, they feign the accoutrements of projecting their coveted "high caste" status at the expense of their true nationality and ethnic identity, it's a colonial legacy. This comes sadly, at the cost of disowning their true Malay heritage.
Pinays like the author with a French first name and a combination Spanish/ Japanese last name, demonstrate the self denial/dislike that many of the aspiring "upper class" from the islands have. To the upper caste in Manila, women like the author are glanced at and without any knowledge of her background or education, regarded as "looking like someone's maid" or perhaps a bar girl. The denial and belittling of the shorter, darker, totally Malay Philippino is most likely the reason why she insists on victimizing any S.E. Asian woman that chooses to indulge her sexual options. This assumption is a most curious perversion of radical progressive feminist logic. In her mind, It is perfectly ok for the light skinned, half Northeast Asian and half white, Asia Carrera to stake her sexual claim to fame. Asia Carrera is the type of Asian which "Celine" aspires to be like, truly half white not just possessing a self anointed white name. Do not forget that even the adopted Japanese last name of her husband is a further step away from who she really is, the Japanese were the only non European people in South Africa to be considered "white" by the apartheid government. Shimizu is the opposite of Asia Carrera, dark, overweight, and unattractive, with her broad nose, Shimizu possess features that are not desired and can never really be accepted by the "high caste" in the Philippines, no matter what high priced shoe and handbag brand you name your child after. (Roc pauses and chuckles)

What is this obsession with shoes and handbag's? What EXACTLY hath Imelda wrought? Perversely, Shimuzu insists on belittling real S.E. Asian women of colour that stake their claim to sexual independence and having a jolly good time in my films by branding them with the epithet and image of being a downtrodden and exploited third world "prostitute". Even worse, she overreaches into the scat cookie jar of sensation by reviving that hideous "little brown fucking machine" bullshit and adding her own sick twist with the "powered by rice" ending.

This is one really sick academic mind or most likely, a premeditated, Rush Limbaugh type marketing eructate here I guess. I believe that, in justifying her secret fetish for porn and getting an easy doctorate and teaching job along the way, she grants some type of bastard progressive feminist exception to her "high caste" American Asian "sisterhood", all whilst feigning horror at the array of porn she has assembled around her, not unlike a pastor caught masturbating with a bunch of Playgirl magazines.

Choi: Woah! Do you take it personally?

JMR: Not really, I am more appalled at the lack of academic honesty and disregard for the academic tradition. I was trained by heavy weights in academia. So I find this type of work disturbing. She didn't do her homework.

Choi: Tell me, how did you find out about the book?

JMR: A friend of mine called me and told me she was in a book store on the west coast and saw the book and read the cover blurbs and was surprised to see and recognize the stills from my films. I was quite suprised, given how long ago these films were released.

Choi: Parreñas Shimizu seems fixated on describing the women in your films as "bony" or "thin".

Marc Roc: It's obvious she resents the physique of real women. Then again look at HER! I mean, she is obscenely obese, as well as unattractive. I see a resentment of attractive of women that enjoy their bodies and sex in general. Somewhat like Andrea Dworkin, these pathological personalities feel that only they have the moral and political authority to sanction sexuality. They use a convoluted and perverted white feminist rhetoric to convince themselves that they arrived at this distorted reality thru the intellectual process. Truth be told, they really just hate their bodies and resent good looking people getting it on. It's just a Bible morality repackaged.

You know, most Bible thumpers justify the suppression of naughty ness by saying it "preserves" women's honor from "bad" men. The self hate is evidenced in completely giving up on their appearance.

Choi: Did you read the whole book?

MW: I tried, it's a difficult read. some sentences are more than several paragraphs in length. The writing style is so bad, it's a struggle to get through it. To me it's full of pretentious gobbledygook designed to fill out the word count on a page more than it is to impart any thing worth thinking about. I used to write like that when I was in college in hope to stretch out a paper's length to the required number of pages and cross my fingers the professor wouldn't pick up on it. It is a good litmus test for finding out who is really teaching and who is just shuffling term papers.

At a Glance: persons in focus

  • Hypersexuality of Race
  • 101 Asian Debutantes
  • Synopsis: “101 Asian Debutantes” the number one selling docuerotica series.
  • Writers: Shimizu
  • Producers: Jean Mark Roc
  • Interviewer: Anna Choi

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Celine Parreñas Shimizu

Celine Parreñas Shimizu is an academic who teaches Asian American studies is from the Philippines. Her family relocated to Boston when she was 14 years old. She attended the University of California, Berkeley and received a B.A. in Ethnic Studies in 1988. She has an M.F.A. in Film Directing from the University of California, Los Angeles and a Ph.D. from Stanford University in Modern Thought and Literature. Shimizu is Associate Professor of Asian American, Film and Media, and Feminist Studies at the University of California, Santa Barbara.
Her first book is The Hypersexuality Of Race.
In it, she analyzes what she calls "hypersexual" representations of Asian women in various media including industry and independent film, pornography and "feminist" video.

Jean Marc Roc

With more than 20 years of erotic film experience, Jean Marc Roc has created films such as “Manila Nights ,” Babes in Thailand” “Sex in Asia,” “The Docuerotica Cookbook,” and the award-winning documentary “Erotic Themes of Nepal". When not in the editing studio, he runs Toa Media, a visual effects company specializing in, 3d effects based in Hong Kong.