Yul Kwon, host of Link TV's LinkAsia, recently did a Red Chair Interview with CNN, in which he shares some key experiences in his life. Along with his on-air interview, Yul ellaborates further in an eloquently written essay posted on the CNN blogs about his Korean background, explaining how he turned to a career in television to overcome social stereotyping of Asian-Americans in the media and come to terms with his own cultural identity. Both video and essay can be seen here. Below is a moving excerpt from his essay:

"My parents immigrated to the United States from South Korea in 1970 with big dreams, but little money. Since they couldn't afford to put my brother and me in daycare or preschool, they encouraged us to watch television as a way to learn English. Every morning, my brother and I watched "Sesame Street" on PBS, which taught us how to count and recite the alphabet. Not only did our TV become another caregiver, it became the primary medium through which I learned about the world. It allowed me to see and experience things I'd never seen before.  It helped me imagine a better future for me and my family. I studied hard and eventually made my way to Stanford University and then Yale Law School. For a poor kid like me, television helped provide the inspiration and vision I needed to realize the American dream.

But as much as television was a source of empowerment and inspiration, it was also a powerful source of constraint. Television defined the way I saw myself and my relationships with other people, and I didn't see a lot of people who looked like me. Asian-American characters were few and far between, and for lack of better alternatives, my favorite childhood hero was Big Bird. He wasn't real, of course, but I didn’t care. He was nice, had lots of friends and was yellow -- and hence, clearly, Asian..."

Read the complete blog post on CNN here.

About Yul Kwon

Yul Kwon is the host of Link TV's original Asian news program LinkAsia. Yul has had a diverse career spanning law, business, technology, and media. Although his multifaceted professional experience spans almost two decades, his rise to international acclaim began in 2006, when he became the first Asian American to win the CBS reality show, Survivor.

Prior to his Survivor victory, Yul held positions at both Google and McKinsey & Company. As an attorney, he clerked on the 2nd Circuit Court of Appeals, practiced law at Venture Law Group and Wiltshire & Grannis, worked as a legislative aide in the US Senate, and most recently served as Deputy Chief of the FCC's Consumer and Governmental Affairs Bureau.

In this next addition to our World Food Week blog series on key people in the field tackling hunger, we talked with Tekiah Jones, a 17-year-old High School Student from Washington DC. She works as the New Media Producer on a campaign called Revolution Hunger. Link Media is working in partnership with Revolution Hunger to engage teens and their communities around hunger and malnutirition at home and around the world. Continue to visit our food page for "Hungry Planet" airtimes, to watch programs online, and to find out what you can do.

Hi Tekiah, thanks for being a part of this interview! First and foremost, how did you first learn about this issue of hunger?

It was actually through Revolution Hunger. I had seen the position online from a friend, so I applied for it, but I didn't know much about hunger. I remember seeing commercials with children in Africa with flies on their face, but that's all. I didn’t know much about it, and didn't learn about it until I joined the campaign.

You are a part of this campaign, Revolution Hunger. Can you tell me a bit about it?

Revolution Hunger is a campaign that is trying to get more teens involved in bringing awareness about world hunger, and hunger here at home. We are really dedicated to trying to get people involved and dedicating their future careers to helping to solve it.

What is your role in the campaign?

My role as New Media Producer is to really expand out the mission and vision of Revolution Hunger, (we in the DC area -- District of Columbia, Virginia, Marylan) -- and to reach teens in schools, and in our community using new media and online tools. We are using social media to get the word out, especially because that's where young people are at. I also work with the Regional Coordinator and we do some outreach projects together, like organizing a youth team in DC, attending events, and doing in school presentations. I write blogs and do things that are online, to really reach out to people and show them what we’re doing, though the new media age.

How do you think new media can impact and engage teens in learning about this issue?

To me, all teens are on their phones and the computer at some point in the day. All of our networks are on the new Android or EVO, and people are on Twitter or Facebook, so the best way to really get to teens is to blog and Tweet and get on their Tumblr accounts. I think that when you use something that teens go to every day, that's what will maximize our impact. When the Tsunamis hit a couple years ago, people weren't talking about Twitter, but people on Twitter were the first to talk about it. I think New Media can take organizing to a new age, and it already is. It's so much more accessible to click on a link. It helps teens get more involved, and allows them to learn about something new. Even in our school, we don't hand in paper assignments, we send them online. With so much online, you don't have an excuse not to be involved. With Revolution Hunger, we are trying to get kids engaged both online and then to get off their computers and go do something positive.

How can teens get involved?

Go to revolutionhunger.org and create an account! Teens can start educating people about hunger, blogging about it themselves, and make it a trending topic. When you start getting into it it, really consumes you. When you know that every 3.6 seconds someone dies of hunger, that's a big thing. The ways that teens can get involved is starting up a club at their school to bring awareness to global issues and hunger. Really just educating each other about it. Not enough people really know about it yet, or care about it. Going up to your friends and talking about it, wearing t-shirts from our campaign, or re-Tweeting our posts help a lot. I have so much more knowledge about the issue. To me, it seems so much greater than the presidential debate.

What is your vision for the future?

For the campaign, I wanted to go viral like the Trevor Project. I would have expected it to start, we're later in the year. I wanted people to be like "have you heard about this campaign?", or one of those things where people are like "are you going to that event today? I want to help out." I really want people to get involved in hunger. People are living off absolutely nothing and don't have anything to eat. We make a big deal out of a new Walmart, but there are people starving.

I want to see lots of people involved. I want to see it on the Ellen show. I want it to go viral so badly. I want people to see it and see the pretty colors and really get into it, into Revolution Hunger. But more then that, make a life long commitment to stay involved and do your part.

What do you hope to see in your community and around the world?

In my community, I hope to see more people getting along with each other, and less hungry people. I want everyone to get along in the different quadrants. There's all this hatred, gang violence, people getting shot or stabbed, fighting in high school, and poverty. I want people to understand we have bigger issues than what hood you're from or who said what at lunch. We have some many bigger problems in DC alone, like hunger or our education system. I want to really be one of those communities where everyone helps each other out.

In the world I want the same things on a bigger scales. Like the wars, people don't know about each other's cultures. I want people to get to know about different world religions and cultures. Different cultures. I want everyone to be a part of fixing social injustices. Hunger is one of those. I really want everyone to just love everyone, to love humanity. That's my wish, that's what I want.

"What I got from the show Mystical Experience is seeing the beauty of universal diversity when wisdom, patience and respect are in the conversation." - Shahid Muhammad, chat participant quote via Facebook

Question: Does fearfulness lead to aggression and fundamentalism? Do those on the spiritual path go through a fundamentalist stage? What is the best way to address fundamentalism inside and with others? What can we learn from this new understanding about how we work with those that come from a fundamentalist perspective?

When I found out I’d be screening a film with a gay man as the protagonist, I was both apprehensive and curious. I’ve seen too many films where a leading gay character has to die or suffer some miserable fate as a necessary part of the story’s narrative (BROKEBACK MOUNTAIN, A SINGLE MAN). However, as a gay man myself, I was curious about gay life in eastern Europe, particularly in a non-urban setting. It didn’t hurt that the film was a 2010 GLAAD award nominee for best film.

THE COUNTRY TEACHER, directed by Bohdan Slama, presents a realistic portrayal of a gay man in conflict that is refreshingly free of Hollywood’s more annoying stereotypes. The movie tells the story of Petr (nicely underplayed by Pavel Liska), a closeted prep-school teacher from Prague who comes to a bucolic Czech village to instruct children in the natural sciences. In an early lesson he advises prophetically, “If we don’t understand nature, we can’t understand ourselves.”

Shortly after his arrival, Petr is befriended by Marie (Zuzana Bydzovska), a local cow herder who lives with her teen son Lada (Ladislav Sidivy). While tutoring Lada in math, Petr finds himself attracted to the young man and embarks on a course of action that has traumatic consequences. It made me wonder, if Petr had been an out gay man, would he have had the problems he had? Is it possible to have a healthy romantic relationship if you still have at least one foot in the closet?

This provocative yet sensitive movie doesn’t flinch from showing Petr’s feelings for Lada. We also see that certain cultural touchstones for adulthood are more relaxed in this rural community. There is no adult censure when 17-year-old Lada is seen drinking hard liquor or smoking pot and there is acceptance of his sexually active relationship with a young woman. Does the film show that homosexuality is also acceptable? Well, to a certain extent, yes, but there is also a good deal of bewilderment, fear and ignorance.

Director Bohdan Slama (LIKE HAPPINESS, THE WILD BEES) bravely declines to portray Petr as criminally disturbed and it was great to see that Petr’s parents seemed more concerned about his loneliness than his sexual orientation. While Petr may have felt the need to be alone when he fled city life, he soon discovers that isolation is not the answer. As he stumbles awkwardly toward making bona fide human connections, he discovers they can be found in unanticipated places.

As for Marie’s reaction to Petr’s encounter with her son, Zuzana Bydzovska’s beautifully layered performance shows us that a cow herder can have a pretty sophisticated understanding of human nature. In fact, Marie’s intuitive abilities regarding both Petr and Lada left me wondering whether she was the real “country teacher” here.

For nature lovers, there are two graphic scenes showing a cow giving birth on Marie’s farm. I leave the symbolism for others to discern. But if you’re in the least bit squeamish, you’ve been warned!

I was just a young teen in Hebrew school when the 6-Day-War erupted on June 5, 1967 in the Middle East. I was relatively unaware of the political issues, but I do recall that a classmate questioned our teacher about Israel’s perspective and wondered if there wasn’t some merit to the Palestinian position. In short order, the young man was directed to the principal’s office and his parents were called in to review the matter with our rabbi. Seriously.

At the time, my perception of the Middle East was largely informed by family, Passover seders and the1960 blockbuster EXODUS, starring Paul Newman. That film’s positive portrayal of Israel generated an unprecedented flow of donations and caused the Israeli government to create a film division to fund positive-message films. So goes the power of movies.

Needless to say, a lot has happened since 1960 including a more complex cinematic consideration of Israel and Palestine. In just the past two years, several terrific films about the Middle East have been released including WALTZ WITH BASHIR, AJAMI, and the subject of this blog, LAILA’S BIRTHDAY. Directed by Palestinian filmmaker Rashid Mashawari, LAILA vividly defines the social and societal consequences of living in the non-stop chaos that is Ramallah, a Palestinian city in the central West Bank (and Mashawari’s hometown).

The movie chronicles a day in the life of Abu Leila (Mohammed Bakri), a former judge who, due to a lack of funding for justices, is forced to drive his brother-in-law’s taxi. The movie begins at dawn when Abu is awakened with the loud crash of shattering glass. He immediately checks in on his 7-year-old daughter, Laila. She’s fine, but the crash foreshadows a rough day ahead. As he leaves for work, Abu’s wife has just one request: be home by 8pm to celebrate their daughter’s birthday.

The clever conceit of the film is that we learn about Abu’s life in Ramallah from the passengers he picks up as well as those he declines. One passenger wants to go to an Israeli checkpoint, a request that a wary Abu refuses. Another hops out mid-journey when she spots a long line of people—she’s desperately hoping that the queue is for food and other supplies. And yet another sits in the passenger seat next to Abu and asks, as if he were an old friend, whether she should go to the hospital (she has high blood pressure) or the cemetery (her husband has recently passed); Abu takes her to the
hospital.

While noisy helicopters patrol above and gunshots crackle on every corner, Abu struggles to maintain some sense of order and control. But it is not long before we begin to see a fissure in his professorial reserve. When Abu stops for gas, he observes drivers casually chatting with one another while traffic has stalled in both directions. The drivers seem oblivious to the cacophony of honking cars around them. This is when Abu finally loses control, grabs a police megaphone and vents. It’s the Palestinian equivalent of Peter Finch’s breakdown in NETWORK.

There’s no question that social interactions in Ramallah have beenprofoundly affected by the absence of order and the constant threat ofviolence. And LAILA’S BIRTHDAY is remarkably successful at defining the extraordinary anxiety of an ordinary life in Palestine.

Millions of Egyptians came out to Tahrir Square today for the "Day of Departure," according to Al Jazeera's Arabic channel. Demonstrators said all Egyptians were participating and that they would not leave until their demands were met.

BBC Arabic reported that both pro and anti-Mubarak protesters turned out in Alexandria. They also said that the Egyptian Attorney General banned several officials from leaving the country as a precautionary measure against them.

One of the banned ministers, former Minister of Commerce and Industry Rachid Mohamed Rachid, called into Nile TV, Egyptian state television. Rachid said he was in Dubai with the permission of authorities and did not know why he had been banned from traveling.

Al Alam, the Arabic language channel from Iran, reported that an European Union summit issued a statement today condemning the attacks on Egyptian demonstrators and calling for an immediate peaceful transition of power. They also said three demonstrations supporting the pro-democracy protesters took place in Brussels today.

Iran's English language channel, Press TV, showed demonstrations around the world in support of the anti-Mubarak protesters, including in Malaysia where protesters clashed with police.

Lebanon's New TV featured the newly appointed Egyptian Vice President Omar Suleiman. The soft-spoken Suleiman rose through the armed forces and military intelligence to become head of the Egyptian General Intelligence Service.

As protests continue in Egypt, Dubai TV reports on how the unrest is affecting the Gaza Strip. Egypt is the main source of supplies for the people of Gaza. Transportation tunnels at the Rafah border crossing have been cut off since the protests erupted, leading to fears of a food shortage.

The culturally rich SONG FROM THE SOUTHERN SEAS, from Kazakh director Marat Sarulu, has absolutely nothing to do with Kazakhstan’s most famous fictional character, Borat. And that’s a very good thing. While the movie has elements of humor, it is the divisive and tragic consequences of racism that are the focus here. As you sort through the rough and tumble among the ethnic diversities depicted—Kazakhs, Cossacks, Russians, Germans and Kyrgyz —it’s hard to imagine how the distrust and prejudice that has existed for millenniums will ever abate.

I saw this movie just after writing my blog about LAILA’S BIRTHDAY, the quietly gripping film that captures the numbing chaos of life in Palestine. However, the scope of the cultural conflicts in Palestine seems dwarfed when compared to the more than 131 nationalities residing in Kazakhstan. Perhaps the most potent conflict is presented in the film’s opening moments when a dark skinned child is born to fair-skinned Russian farmers, Ivan and Marja, who just happen to have dark-skinned Kazakh neighbors. Tensions arise immediately.

But this movie is not actually about the identity of the real father. While Ivan initially rejects his newborn son, Sasha, there is no question about the parents’ love for him. Rather, it is Marja’s family, Russian Cossacks, who taunt the couple about Marja’s alleged infidelity. In one of the film’s especially well orchestrated sequences, Marja’s boorish brother inquires about Sasha and then summarily dismisses him: “he’s really not one of us”.

Meanwhile, Sasha is unaware of the snub since he has run away to live among Kazakh horse herders just beyond the family farm. The film doesn’t reveal why he has left, but the notion of escape is presented as an option that cuts across generations and cultures. And little wonder. The sweeping majesty of the mountains that border the vast Great Steppe is undeniably alluring.

This yearning for escape, however, is not without cost and sacrifice. As Ivan’s grandfather explains in a moving story about their family history, when one chooses to live among people who are culturally different, more is at stake than the wrenching sense of loss by the family left behind. There can be unanticipated challenges, some of them insurmountable. Ivan’s great grandfather, Alexander, who fell in love with a Kazakh woman, had to convert to Islam before her family would accept him. This involved shaving his head, becoming circumcised and adopting a Muslim identity. Not to mention a horse contest with a rival suitor. But that’s the least of it.

In the sequence below, Alexander seeks protection for his family when he learns that the Czar, with the help of Cossack regiments, is committing massacres to combat the Kazakh revolt of 1916. In this Kazakh version of SOPHIE’S CHOICE, a decision must be made about the fate of Alexander’s children—who will be saved and who will perish.  The decision is based on the appearance of the child’s race. The scene, directed with considerable restraint, is a cinematic punch in the gut. Here is Alexander’s plea for his children’s safety as the Russian armies advance.
 

Click to watch film clip

As he concludes the family history, Ivan’s grandfather remarks:  “…what holds life together is not force, Ivan, but love…”.  The comment comes as a surprise in the context of a culturally violent history. But it resonates strongly with Ivan and you sense that he has come upon a turning point in his life.

While it is not long before we see Ivan and Marja running after one another in perceived animosity, they ultimately collapse in each other’s arms after exhausting themselves. This time, however, there are no consequential bruises or black eyes. What may look like domestic violence through the prism of a Eurocentric culture is more accurately an interaction that is farcical and slapstick. The physical engagement is no longer intended to harm; it is an expression of frustration among a people who have been raised accordingly. The director intends that you laugh when they’re done fighting and surprisingly you do. 

Interwoven throughout the film are shadow puppets that comment indirectly on the film’s narrative. They tell the story of a young man’s search for peace. It is a wish to be freed from grief and painful memories. Life may be tough on Ivan’s farm, but he and Marja are resilient, affectionate in their way, and sometimes even joyous. And Ivan’s grandfather certainly knows what he’s talking about when he shares his life lessons on love and war.

In 2009, movies finally began to present stories about the devastating impact of the current global economic crisis. The movie that grabbed the most attention and was hailed as capturing a zeitgeist moment on corporate downsizing was UP IN THE AIR. Despite its acclaim and multiple predictions that it would be the one to beat at this year’s Oscar’s, it went home empty-handed. Truth be told, I wasn’t a big fan of the movie and thought its depiction of the economic crisis was more slick than illuminating. Where were the personal stories that showed the real devastation of job loss?

Italy’s satisfying answer is DAYS AND CLOUDS, directed by Silvio Soldini (BREAD AND TULIPS, AGATA AND THE STORM).  It traces the harrowing economic descent of a sophisticated, upper-middle-class couple in Genoa after the husband loses his job. Flawless performances by Margherita Buy and Antonio Albanese as the couple (Elsa and Michele) keep us riveted as they attempt to grapple with their escalating fears about an unfathomable future.

All seems fine as the movie opens with a surprise celebration of Elsa’s graduation from an art history program.  But when Elsa wakes up, Michele confesses that he hasn’t worked in months and they will probably have to sell their home. Elsa is furious at what she perceives as a betrayal of marital trust. While Michele explains that he did not want to distract her from her exams, it soon becomes clear that much more is at issue—Michele’s unbearable shame for jeopardizing a way of life that he can no longer maintain.

The theme of shame runs deep as Elsa discovers her own inability to share the news with her daughter or close friends. The stress of these multiple non-disclosures begins to create a weight so heavy that the marriage starts to buckle under the strain. The pain is so palpable I felt my heart racing as fast as their downward tumble.

I picked the clip below because it shows how the couple’s economic unraveling is beginning to invade all aspects of their life. It also highlights Michele’s state of denial and embarrassment as he pretends that everything is OK. In this scene, with the news of Michele’s job loss still fresh for Elsa, the simple act of picking up a dinner check with friends quickly devolves into an angry confrontation:

One review of this film suggests that Michele’s denial and anger are, in part, exacerbated be an “Italian machismo” that impairs his ability to cope with a surreal loss of stature. I’m not sure that’s correct. It seemed to me that Michele’s reaction was more universal and not necessarily affected by any cultural distinctions.

Michele’s search for employment flows from denial to desperation so quickly that he has difficulty adjusting to a reality that finds him working odd jobs as a postal messenger and plaster/painter--anything to avoid the horror of doing nothing. Elsa must also adjust to a future that requires working two shifts as a secretary. And she discovers that she must make decisions about whether to consider alternate life choices including other men. A pass from a wealthy, attractive businessman is not so easily dismissed and the pain of this discovery is revealed in a breathless moment of sadness, vulnerability and desire.

Film’s ending does, however, provide a glimmer of optimism and it is Elsa’s art restoration that serves as an apt metaphor: if you can scrape away the years of passive neglect that can camouflage a marriage, you may find, if you’re lucky, something very beautiful that has somehow managed to endure. Whether that’s true or not, we finally have a film that accurately captures the economic calamity that can happen to anyone. And it’s pretty scary.