Imperialism and colonialism, as relations of ruling, have had a constitutive influence in framing attitudes towards "race-mixing" and shaping discursive constructions of "Amerasians." This becomes abundantly clear once we recognize that in most instances, sexual unions were, and continue to be, regulated by the imperatives of the colonial relationship.
The plot of "race-mixing" or "multicolour romance" functions as a mysteriously attractive taboo in such early films as Sayonara (1957) and Tea House of the August Moon (1957).
As a sign, the "Amerasian" subject becomes a repository for all the desires and fears that accompany notions of "race-mixing." If the colonial situation constructs a chasm between the colonizer and the colonized, then the "Amerasian" can be understood at different moments as a threat.
His statement that the "marginal man" is "condemned by fate to live in two antagonistic cultures" is hailed as a warning of the trauma of "hybridity." Insofar as Park's "marginal man" paradigm has borne lasting effects on discourse pertaining to "race-mixing," it warrants extensive scrutiny.
Specifically, they help Ellen's portrait to broach the taboo of race-mixing. Victorian language obfuscated and dodged this tinderbox subject with such pseudoscientific, murky terms as miscegenation and amalgamation.
Marjorie Garber finds evidence in William's narrative of how "erotic race-mixing .
William's use of the comic mode to erode assumptions about race-mixing appears to be a consistent device in his narrative.