Bringing Asian German Film Studies into Focus Zach Ramon Fitzpatrick (bio) My dissertation project Shifting Focus: Asian German Film Representation since 1910 constitutes the first full-length critical history of Asia and Asians within German cinema. Chunjie Zhang maintains that the new sub-field of Asian German studies "diversifies the paradigm of German national literature in a meaningful way," by challenging Eurocentrism, by expanding beyond canonical writers and thinkers, and by laying bare transnational and transcultural links between Germany and Asia.1 For this project, it was my intention to use an Asian German studies lens to do the same for German film studies. One common way of polemically formulating the state of representation for Asians in Western film is to describe them as invisible or unsichtbar, but I insist on a different perspective inspired by film's formal category of camera focus.2 Instead of being wholly invisible, Asians on German screens are figuratively blurry and out of focus, in a depth of field beyond our line of sight. What happens when we bring those Asian people, characters, and elements, which are seemingly unimportant, marginal, and decorative within the German film frame, into sharp [End Page 134] focus? Recalibrating our focal plane and attuning our ears enables us to trace the visual and aural construction of these Asian German Others, over the last century of film. The main criterion of my selection process for films to analyze was the presence of South, Southeast, and/or East Asian topoi; that is, Asian settings, filming locations, characters, credited actors, coded props, and/or film titles referencing Asia. Through strategic essentialism, the rubric of Asianness helped to bring over 300 films from a variety of different time periods, styles, genres, and contexts into conversation with one another in ways not previously considered. Rather than implying that all of these films signify in the same way, the diversity inherent within my use of Asianness ensures that differences can also be discussed in a productive way. My dissertation begins with a chronological overview that writes Asian representation (back) into all of the typical periodizations of German film history. From the Wilhelmine era to the 2020s, I demonstrate how Asian presences have existed throughout all major periods of German film history, in a variety of styles and genres. Filling in these collective glaring omissions within German film and cultural studies offers new perspectives on the canon, as well as a greater understanding of how Germany has framed and continues to frame Asian racialization. Most notably, Germany's interest in Asianness adapts over time, as illustrated by the number of German films related to China, India, and Japan during the silent and early sound eras, to Hong Kong and Thailand in the 1960s, or to Vietnam during the German Democratic Republic, as well as in post-unification Germany. With this chronological overview as our foundation, the next chapter systematically explores recurring tropes in German cinema's vast archive of Asian racial images, tracing how certain filmic stereotypes employed a century ago reappear throughout history and may still even be present today. As exemplified in productions from the 1910s to the twenty-first century, German cinema has amassed a broad arsenal of enduring strategies for projecting Asian inscrutability and alterity. For example, the Madame Butterfly trope of the beautiful East Asian woman who tragically dies is something seen from the 1910s to the 2010s. I end this chapter with a small selection of brief case studies of films warranting a more thorough and holistic analysis of how a single work can egregiously represent a variety of Asian tropes, thematically and formally. Subsequently, I outline a selection of subversive and empowering moments in film history that complicate the aforementioned representational stereotypes. Films can surprise us when they exceed perceived representational constraints of the times and run counter to the prejudice we attribute to the past. For example, despite cinema's villainization and/or emasculation of Asian men for much of the twentieth century, occasional pictures from as early as the 1920s depict Asian men as heroes and desirable romantic partners. There is an affirming potential for film viewers of the present to learn about lesser-known milestones and...