found: Work cat: Moon, K. Yellowface : creating the Chinese in American popular music and performance, 1850s-1920s, 2005:p. 164 ("In response to the plot and casting of Miss Saigon, Asian Americans used the term yellowface to reveal the ways in which the entertainment industry caricatured all men and women of Asian descent and to question the perpetuation of Asian stereotypes through yellowing up, storylines, and music. Tied to blackface and the portrayal of African Americans on the stage by whites in the nineteenth century, the term yellowface appears as early as the 1950s to describe the continuation in film of having white actors playing major Asian and Asian American roles and the grouping together of all makeup technologies used to make one look 'Asian.'")
found: Schmidt, B. Visualizing orientalness : Chinese immigration and race in U.S. motion pictures, 1910s-1930s, 2017:pp. 40-41 ("The appearances of almost all Asian main characters resulted from makeup and costumes intended to create an illusion of Orientalness. This racial masquerade was most visible in the actors' and actresses' faces, where adhesive tape, greasepaint, and makeup worked to give the characters the stereotypical features of 'slanted' eyes and high eyebrows that served as racial markers. This practice of yellowface in motion pictures is, in fact, as old as the film medium itself")
found: Metzger, S. Charles Parsloe's Chinese fetish : an example of yellowface performance in nineteenth-century American melodrama, in Theatre journal, v. 56, no. 4 (2004):pp. 627-651 ("the absence of Asian bodies on US stages resulted in actors developing what Josephine Lee calls 'a complex set of codes for the presentation of the Oriental Other' that borrowed from the lexicon of Asian stereotypes. I group such codes--conventional associations of signs and meanings that purportedly convey 'Asian-ness'--under the term yellowface performance.")
found: Galella, D. Feeling yellow : responding to contemporary yellowface in musical performance, in Journal of dramatic theory and criticism, v. 32, no. 2 (Spr. 2018):pp. 67-77 ("yellowface, the practice of typically non-Asians performing stereotypical Asianness through racialized makeup, hair, costume, accent, diction, gesture, movement, and music.")
found: Meyer, R. The repeated racism of Snapchat, 13 Aug. 2016, via Atlantic website, viewed 13 May 2019(Snapchat "debuted a filter that covered over a user's eyes and forehead with closed-eye slants while enlarging their teeth and reddening their cheeks"; "the filter adopts wholesale a different visual language of representing East Asians: yellowface. Indeed, two hallmarks of yellowface are squinted eyes and buckteeth.")
found: Sanders, S. Why we've been seeing more 'yellowface' in recent months, 13 August 2014, via NPR website, viewed 13 May 2019("You might have heard a lot about 'yellowface' in recent months. It's the word widely used to refer to someone donning makeup or clothing to present the appearance of looking Asian.")
found: Urban dictionary, viewed 5 June 2019(Yellowface: "Refers to the practice in cinema or theatre of a non-Asian (typically white) actor/actress playing the role of an Asian character. More specifically, it refers to the use of makeup and prosthetics to give the actor a 'more Asian' appearance; also, actors often affect a heavy accent and/or speak in poor English ... By extension, can mean the practice of taking on an ethnically stereotypical persona")
found: Lee, R. Orientals : Asian Americans in popular culture, 1999:p. 12 ("The Yellowface coolie and model minority, despite their apparent contradiction, not only coexist but, in fact, can become mutually reinforcing at critical junctures because neither is created by the actual lives of Asians in America. What produces these stereotypes is not just individual acts of representation, but a historical discourse of race that is embodied in the history of American social crises")
found: Ono, K. Asian Americans and the media, 2009:p. 18 ("implicit yellowface"; "Yellowface logics continue to rely on what Homi Bhabha calls racial ambivalence, enacted through mimicry and mockery.")
