In 1925, America saw a radical shift from the Asian as evil genius to a popular hero. At a moment when Yellow Peril fears began to subside—in part due to declining immigration but also the visibility of a growing native-born Chinese-American population—the Saturday Evening Post launched a series that starred Charlie Chan, an acculturated Chinese detective of the Honolulu Police Department; he was an immediate success and paved the way for other more Americanized Asian characters (Chung 534). Charlie Chan appeared in five novels from 1925 to 1932 (Biggers died in 1933), 47 films between 1926 and 1949, a radio series between 1932 and 1948, a television series in the 1950s, a comic strip, a series of comic books, a board game, a card game, a short-lived mystery magazine, and an animated television series for children in the 1970s. He was characterized as “Chinese” through his quiet and controlled manner, his halted English, and with his tendency to offer pearls of Confucian (although sometimes more like fortune cookie) wisdom during his investigations. For example in Charlie Chan at the Circus (Lachman 1936), Chan (Warner Oland) allays the police detective’s fear that the criminal might strike again. He says, “No cause for hurry now. Enemy who misses mark, like serpent, must coil to strike again.” He applies his aphorisms—which became known as “Chanisms”—to human nature, but also to his work as a detective.

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