Janet Yang

Janet Yang’s journey to the presidency of the Academy of Motion Picture Arts and Sciences is nothing short of a cinematic tale itself. Yang was born into a world of dichotomies where her Chinese identity often clashed against the norms and expectations of American industries. A living rendition of personal and professional triumph, Yang took the fight for inclusion in the film industry from coast to coast; however, at the start, the film industry felt a world away, and although Hollywood was far-flung, Yang held her vision for representation close to heart as she was elected as the Academy’s first Asian American and fourth female president in 2022. After two terms, she was recently re-elected, continuing her work as president.

“I had the dream to have [The Joy Luck Club] represented on screen,” Yang shares. “I was just starting out in the business. I had no idea how these things work. I just had the intention to let other people get a glimpse of this life. It was a remarkable and, at times, almost frightening experience because I was not used to our inner lives being exposed the way that it was in the book, and the way Amy [Tan] articulated it. That's probably the first time I saw what I would consider an authentic Chinese American experience represented on screen. “

The changing politics of the American identity shrouded the Asian in “Asian American”’ for many. Even as a young girl watching American television, her ambition met acknowledgment of the duality of Asian culture and American social life. She sought opportunities outside of the confines of stereotypical employment options.

“With so many Asian families, I tell the joke [that] there are three things you can be when you grow up: a doctor, a lawyer, or a failure,” she humorously remarks. “There were just very specific ideas of what success looked like. I knew I didn't want to be a doctor, and I didn't particularly want to be a lawyer. I was really just scanning for opportunities.”

Yang’s desire to see the Asian experience on screen felt like a herculean task at first. Ambitious in every step of the journey, however, she roots her hope in a more inclusive future in immigrant stories and the diverse array of success and sorrow within each one.

“I think I exemplify the American dream in a lot of ways,” Yang, who was raised by her Chinese immigrant parents, explains. “I grew up on Long Island, New York, and it just literally never occurred to me that I could have a role in the movie industry at all. I was an avid movie watcher, [but] partially because I grew up on the East Coast, Los Angeles seemed very distant. I never saw anyone that looked like me representing the movie industry, or even working in the movie industry. It is an American dream how I was able to stumble into this [role] and be able to walk through doors that opened up for me. I’m living the dream. What can I say?”

Yang is right that her movement to the film industry and subsequent upward mobility within it have left Hollywood speechless; however, the reverse side of her success is her struggle and her hope to advocate for greater recognition of the immigrant story.

“This is a country where dreams do come true, not for everyone necessarily, but we continue to be a country that attracts people from all over the world,” Yang reflects after a short pause. “I am often really inspired by immigrant stories. I like to be reminded, and I would love to remind other people that this country is [largely] made up of immigrants.”

She exudes confidence behind the scenes and is committed to the fruition of the Academy’s collective goals. For this and more, she was recently re-elected for her third term. “It's been a great privilege because I have been a longtime Academy member,” Yang says. “In the last eight years or so, I've been very involved in the Academy, serving on the executive committee and then as a governor. It feels like, in some ways, a very natural extension of the work that I was inspired to do early on.”

Yang’s original impetus for her activism within the Academy began with her return to China in the 1980s. Covering the vast cultural and geographic expanse, she acted as the harbinger of Hollywood’s Chinese exchange. At that juncture, Asians remained on the streets of Hollywood—obstacles abound for Asians as the outsiders of Hollywood. Her arrival in Mao-era China in her teenage years marked the beginning of a melting pot of culture through film, sharing American films with Chinese audiences and Chinese films in the United States.

“It was living in China that gave me the inspiration [for] what is now the work that I do,” Yang recalls. “[It was] to first let people see Chinese cinema. Then, I was hired by the studios to sell American films to China. I ended up working miraculously on a movie with Steven Spielberg, working closely with him for Empire of the Sun, which was shot in Shanghai, in part. I knew what my intentions were, which was not to have a boring job. It was something in an arts related field, but I couldn't describe what it was because it just didn't exist on my radar until the actual opportunity arose.”

Yang also identifies The Joy Luck Club as a significant milestone. Her engagement in the development of the 1993 film adaptation was a catalyst for more frequent moments of Asian representation in Hollywood. “Since [its release,] there have been many others,” she elaborates. “It's been fantastic to see so many other kinds of representation on screen that literally did not exist before. A lot has changed, and it's pretty thrilling. I've seen how our community has grown so much.”

Oscar nominations and award conversions of more Asian films are becoming increasingly present within the Academy. For Yang, awards are a metric of the diversification of Hollywood and the Academy. “We can point to quite a few high-profile Asian films that have come to prominence in recent years,” she says. “One is when Parasite won Best Picture [as] a non-English language movie [in 2020]. That was already a big leap forward. Then having Everything Everywhere, All at Once dominate the awards [in 2022]. We had Godzilla Minus One win Best Visual Effects [in 2024]. All of it is just a testament to how we change the membership of the organization.”

In just her two terms as the Academy president, Yang has just given us a taste of what lies ahead for Hollywood. She parallels her role to a source of never-ending joy, representing, in itself, her acute sense of responsibility and pride in representing women and all minorities.

“I'm very aware that I do represent—and get wonderful feedback from—women and people from the Asian community. I think all communities of color might know me well,” she says. “The whole notion of representation is still very strong because [the presidency] is a very public and prestigious role. It's almost like the gift that keeps on giving just by being who I am. It can signal something to women and people of color, and I'm very happy about that.”

Self-visualization in Hollywood is key. While Yang once saw no entrance for herself, the film landscape has evolved. “There's a lot of representation, I would say. A lot of representation. Hopefully, at least, young, emerging filmmakers and actors know that there can be room.”

While representation is paramount for encouraging marginalized youth, the journey to success is fraught with personalized challenges and resilience. “Everybody struggled in the beginning,” she says. “Nobody comes out of the womb going, ‘Oh, I'm a huge success.’ If you can't imagine yourself doing anything else, [and] this is the thing that you know you love, you just have to stick with it and find ways to make it work. There's no formula. There are no guarantees. There's no stated timeline. It's your own journey, and you have to get comfortable with it.

Yang was named one of ​​The Hollywood Reporter’s “2023 Women in Entertainment Power 100.” Her focus on inclusivity on all grounds—from age to ethnicity and everything in between–extends beyond her own heritage.

“I co-founded an organization called Gold House, which has been extremely active in uplifting our community in many, many, many respects.” She continues, “[For example], we have made a conscious effort to make sure people are reminded that South Asia is part of Asia. There is a real shared culture, which is not just a false categorization. I’m also reminded, when we say AAPI, [to] not forget about PI. Pacific Islander. We are a big umbrella, and it's up to us to define it in as broad a way as possible.”

Yang’s communal identification with all minorities, people of color and gender is the fuel for her success. “[The Academy] is far more internationally set than we were several years ago,” she says. “It does show that the Academy is a living, breathing organism that stays very relevant and close to the changes in society at large.”

Yang’s presidency assures us that Hollywood’s animated future is in safe hands. Although challenges still persist on the journey to a more representative film industry, her story and concurrent fight are a reminder that success is driven by purpose. From watching grand films on television as a child to experiencing the Academy in the flesh many years later, she remains inspired by her vision of a Hollywood that celebrates inclusivity. With leaders like her at the helm, the Academy’s future is bright, where every story has its place on the big screen.