Elaine Chun has succeeded as a comedian because of her use of Mock Asian as well as her other ideologies. Chun has always managed to use the aforementioned facets to perform her arts on stage. In fact, she has legitimized her use of racializing styles because people are used to her using them (Chun 264). However, it is worth mentioning that the ideologies of legitimacy she uses are based on the assumption of the alliance of different communities, the community membership authentication as well as the kind of interpretive frame she uses when acting as a comedian.
Notably, I agree with Elaine Chun about her idea of Mock Asian. In her article “Ideologies of Legitimate Mockery: Margaret Cho’s Revoicings of Mock Asian”, Chun’s Mock Asian is based on different languages, nations, and races (265). Indeed, her Mock Ideologies reproduces specific ideological links based on the aforementioned facets – language, nation, and nation. The author does that irrespective of the inherent process allied to ideological subversion.
Arguably, I agree that her utility of speech that is stereotypical Asian is not a direct racial crossing. Note that Chun is an Asian based on a majority of racial ideologies in the United States. Accordingly, she has been in a position to simultaneously deconstruct and decontextualize the American racializing discourses despite the fact that her utility of Mock Asian could have resulted in these discourses (266). Nevertheless, it is indisputable that she has been authenticated successfully as both an American and Asian comedian because she uses Mock Asian to critique the ideologies of the racial mainstream. Her comedies have always been supported despite her constant critique of the marginalization of Asians in the United States.
Chun, Elaine W. “Ideologies of Legitimate Mockery: Margaret Cho’s Revoicings of Mock Asian.” Pragmatics, vol. 14, no. 2/3, 2004, pp. 263-90.