The Hypersexuality of Race: 11 Questions for Jean Marc Roc Pt 1

By Anna Choi

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: Anyone 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 accouterments 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 of 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 possesses 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 handbags? 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/Talaiban type marketing eructate here I guess. I believe that, in justifying her secret fetish for porn by getting an easy doctorate and teaching job along the way, she grants some type of bastard progressive feminist privilege to her “high caste” American Asian “sisterhood”, all whilst feigning horror at the array of porn she has assembled around her, not unlike a southern baptist preacher 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 heavyweights 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 surprised, given how long ago these films were released.

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

JMR

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 YOUNG women that enjoy their bodies and sex in general. Somewhat like the original Taliban queen, 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.

• 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

Hypersexuality of Race   C Shimizu