An Asian fetish is an obsession with or objectification of Asian people, culture, or things of Asian origin by those of non-Asian descent, especially when it is related to stereotyping. It applies to the enthusiasms experienced by some non-Asian people for such things as Asian cinema, tattoos made up of Chinese characters or the adoption of Asian children, especially to the exclusion or diminishment of other cultures. More specifically it refers to a type of sexual obsession.
Asian fetish is a slang expression derived from sexual fetishism, which in medical terms is a sexual fixation on a nonliving object or nongenital body part. However, the word fetish is used in common discourse with a much broader scope than its psychiatric definition, including an obsession for objects or activities in non-sexual contexts.
An Asian fetish is distinct from an interracial partnership. Interracial relationships may occur for reasons distinct from race. Asian fetishes have been criticized for treating the fetishized person as an object rather than an equal partner. The term Asiaphile is sometimes used to describe the same phenomenon, as is "yellow fever" for East Asians (not to be confused with the disease yellow fever).
A Western fetish for Asian things developed out of a European tradition of fascination with the East, and a history of othering the inhabitants of those regions. Middle Eastern women were fetishized in Europe during the 17th and 18th centuries, and after the First Opium War in the 1840s and the opening of the Chinese treaty ports to foreign merchants, East Asia became the focus of Western commercial and imperial interest. Western powers, including the United States, established a presence in the port cities of China, Japan and Korea and made substantial profits from the lucrative trade routes. One result of this was a developing appetite amongst the Western middle class for Asian goods and art; for example, Chinese export porcelain. Some of this art, such as postcards and fans, featured sexualized depictions of geishas, portrayed as petite, heavily made-up and richly dressed women. The prominence of this provocative geisha image on trade goods fostered, in the eyes of Western men, the idea of the geisha and East Asian women as decorative, sexual objects.
The 1887 novel Madame Chrysanthème by Pierre Loti and Puccini's 1904 opera Madama Butterfly served to popularize the image of the submissive and doll-like East Asian woman, while Hollywood promoted the sexualized Asian femme fatale in the form portrayed by Anna May Wong as Fu Manchu’s daughter. The image of the sexualized Asian woman in the United States was further solidified by the presence of the U.S. military in Asia during the Second World War, the Korean War, and the Vietnam war. Brothels formed in towns surrounding U.S. military bases, their primary clientele being U.S. soldiers. American men who may not have had preconceived notions about Asian women were drafted and sent to fight in Asia where they saw Asian women working in the sex industry.
A well known stereotype of Asian women is that they are subservient, passive and quiet. Throughout history in the Western world, the image of an Asian women was "geisha-like", meaning overly sexual but silent. Asian women are seen giving suggestive gazes but remaining quiet while seducing a man. This image persists today, along with the idea of Asian women being exotic and submissive. Asian women are often referred to as a 'china doll', meaning they are dainty and beautiful, but also meaning they have no feelings and are able to be controlled. In movies, television and media, this stereotypical representation of Asian women is of them being seen as objects rather than humans. Continuous exhibition of such in mainstream media has led to the idea of the "Asian fetish".
In the afterword to the 1988 play M. Butterfly, the writer David Henry Hwang, using the term "yellow fever", a pun on the disease of the same name, discusses white men with a "fetish" for (east) Asian women. The pun refers to the color terminology for race, in which persons of East and Southeast Asian heritage are sometimes described as "Yellow people". The term "yellow fever" describes someone who is inflicted with a disease, implying that someone with an Asian fetish has a sickness. Hwang argues that this phenomenon is caused by stereotyping of Asians in Western society. The term yellow fever is analogous to the term jungle fever, an offensive slang expression used for racial fetishism associated with white men whose sexual interests focus on black women. Other names used for those with an Asian fetish are rice kings, rice chasers and rice lovers.
In a two-year study on dating preferences among 400 Columbia University students, researchers did not find evidence of a general preference among white men for Asian women. Furthermore, the study found that there is a significantly higher pairing of white men with East Asian women because East Asian women are less likely to prefer African-American or Latino men. The study took data from "thousands of decisions made by more than 400 daters from Columbia University's various graduate and professional schools".
Asian fetish places a psychological burden on Asian women, who are forced to cope with constant doubt and suspicion that men who find them attractive are preoccupied with their Asian status rather than other traits or characteristics. Asian American women report both in popular media such as blogs, and in social scientific literature, that they are often uncertain whether people are only interested in them for their race. The doubt that targets of Asian fetish experience stems from feelings of depersonalization, which compound on the objectification Asian females already face as women, to create a further sort of objectification where Asian women feel like interchangeable objects. The fetishized body of the Asian woman becomes a symbol of other people’s desires; she is not valued for what she is, but what she has come to represent. Racial depersonalization can be especially hurtful to Asian women in situations where being recognized as an individual is important, such as romantic relationships, because a person may feel unloved if they sense they could be replaced by someone with similar qualities.
Another effect of Asian fetish is that it causes its targets to feel like an Other, because they are isolated and held to different standards of beauty. Asian American women report being complimented in ways that imply they are attractive because they are Asian or despite being Asian. Because of Asian fetish, an Asian woman’s racial difference is either seen as a failure to conform to mainstream white standards of beauty, or as something that can be appreciated only on an alternative scale. This can cause insecurity, and affect a woman’s self-worth and self-respect.
Men with an Asian fetish are also affected by the stigma that accompanies the term. These men are viewed as inferior by those who assume that they date Asian women because they are unable to date White women. This logic holds that Asian women are lesser than White women. The stereotype that the Asian fetish perpetuates, about the sexual superiority of Asian women, reduces Asian women to objects that are only valuable for sex and not as complete human beings.
NPR correspondent Elise Hu offers that this can be a source of insecurity in Asian women's dating lives, asking: "Am I just loved because I'm part of an ethnic group that's assumed to be subservient, or do I have actual value as an individual, or is it both?". In the other direction, it has been argued that the notion of an Asian fetish creates the unnecessary and erroneous perception of multiracial relationships as being characterized by "patriarchal, racist power structures" in relationships.
Writer Agness Kaku believes the mainstream white culture undermines efforts to combat sexual harassment based on Asian fetish. Noting how frequently women of Asian descent are subjected to verbal and online harassment, Kaku argues that Asian fetish "thrives on double standards that make light of racial bias against Asians" and states this downplaying leaves women vulnerable to stalking and violence.
A 1998 Washington Post article states 36% of young Asian Pacific American men born in the United States married White women, and 45% of U.S.-born Asian Pacific American women took White husbands during the year of publication.. In 2008, 9.4% of Asian American men married to White American women while 26.4% Asian American women to White American. 7% of married Asian American men have a non-Asian spouse, 17.1% of married Asian American women are married to a white spouse, and 3.5% of married Asian men have a spouse classified as "other" according to U.S. census racial categories. 75% of Asian/white marriages involve an Asian woman and a white man. There was a spike in white male/Asian female marriages during and following the U.S.'s involvement with wars in Asia, including WWII, Korea, and Vietnam.. In 2010, 219,000 Asian American men married White American women compared to 529,000 White American who married Asian American women 
After World War II, overly feminized images of Asian women made interracial marriage between Asian American women and white men popular. Asian femininity and white masculinity are seen as a sign of modern middle-class manhood. Postcolonial and model minority femininity attract white men to Asian and Asian American women and men see this femininity as the perfect marital dynamic. White men often racialize Asian women as "good wives" or "model minorities" because of how Asian women are stereotyped as over feminized.
In preparation for a documentary on Asian fetish called Seeking Asian Female, Chinese-American filmmaker Debbie Lum interviewed non-Asian men who posted online personal ads exclusively seeking Asian women. Things that the men found appealing in Asian women included subtlety and quietness, eye-catching long black hair, a mysterious look in dark eyes, and a propensity to give more consideration to how their partner feels than to themselves. Lum described the stereotype associated with an Asian fetish as an obsession with seeking "somebody submissive, traditional, docile... the perfect wife who is not going to talk back".
Asian women are viewed by white men as "good wives", as in they are perceived to be able to properly take care of their children during the day and fulfill their partner's sexual desires at night. In interviews done by Bitna Kim, white men explain their fetish for Asian women. The white men interviewed fantasize that an Asian woman possesses both beauty and brains, that she is "sexy, intelligent, successful, professional, caring, and family oriented"; that she does not wear “white girl clothes” and heavy makeup, and that they are not high maintenance. Hence, the men believe that Asian women have respectable mannerisms. These men see Asian women to be exotic, thus desirable, because of their supposed mysterious beauty and possession of a physical appearance perceived to be petite. Sexually, the men in these interviews had a commonality. They all believed that Asian women have submissive sex. They believed that an Asian woman did not mind putting her partner’s pleasure above hers. These interviews show that white men believe that an Asian woman embodies a perfect wife as a "princess in public and a whore in the bedroom".
Since 2002, marriages between Swedish men and Thai women have become increasingly common.
Historically, the number of Thai women marrying westerners began to rise in the 1950s and 1960s as a result of Prime Minister Sarit Thanarat's economic policies which attracted foreign investment and western men to Thailand. There is a social stigma in the country against Thai women marrying white men, but research published in 2015 indicated that an increasing number of young middle-class Thai women were marrying foreign men. A generation earlier, Thai women marrying foreign men had mostly been working class.
Sources indicate that Sri Lanka is popular among Western "marriage bureaus" which specialize in the pairing of Western men with foreign women. The first and largest wave of Sri Lankan immigrants to Denmark were Sinhalese women who came to the country in the 1970s to marry Danish men they had met back in Sri Lanka. Statistics also show that marriages of Danish, Swedish and Norwegian men with Thai or Indian women tend to last longer than those of Indian men marrying Danish, Swedish or Norwegian wives.
Statistics detailing the sponsorship of spouses and fiancées to Australia between 1988/89 and 1990/91 showed that more women from the Philippines, Singapore, Malaysia, Sri Lanka, Vietnam, Indonesia, South Korea, and India were sponsored for citizenship than men from the same countries.
An estimated 200,000 to 400,000 German men annually travel abroad for sex tourism, with the Philippines, Thailand, South Korea, Sri Lanka and Hong Kong as their main destinations. For some white men, sex tourism to countries such as Thailand is built around a fantasy that includes the possibility of finding love and romance. This idea is based on the stereotype of "the Oriental woman" who is considered to be beautiful and sexually exciting as well as caring, compliant and submissive.
In her essay "Hateful Contraries: Media Images of Asian Women", British filmmaker Pratibha Parmar comments that the media's imagery of Asian women is "contradictory" in that it represents them as "completely dominated by their men, mute and oppressed" while also presenting them as "sexually erotic creatures".
Asian women have traditionally been stereotyped in mass media in the United States. In her essay Lotus Blossoms Don't Bleed: Images of Asian Women, American filmmaker Renee Tajima-Peña identifies two basic stereotypes. The Lotus Blossom Baby is a feminine and delicate sexual-romantic object. In contrast, the Dragon Lady is treacherous and devious, and in some cases a prostitute or madam. Tajima suggests that this view of Asian women contributes to the existence of the Asian mail-order bride industry in the US.
Media continuously furthers the progression of the Asian woman stereotype. This can be seen in movies, where the women are characterized by submissiveness. This trend is embodied within pornography, which focuses on an Asian women's stereotyped body type and her ability and desire to remain submissive to males. Asian pornography uprose when the United States government banned prostitution. But in other Asian countries, porn was supported, which lead to the accumulation and sexualization of Asian-based porn in the United States. The inability for one to truly understand another culture or production opens up more room for imagination and fantasy.
The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white supremacist, white nationalist, white separatist, anti-immigration and sometimes antisemitic movement based in the United States. A largely online phenomenon, the alt-right originated in the U.S. during the 2010s although it has since established a presence in various other countries. The term is ill-defined, having been used in different ways by various self-described "alt-rightists", media commentators, and academics.
In 2010, the American white nationalist Richard B. Spencer launched The Alternative Right webzine to disseminate his ideas. Spencer's "alternative right" was influenced by earlier forms of American white nationalism, as well as paleoconservatism, the Dark Enlightenment, and the Nouvelle Droite. Critics charged it with being a rebranding of white supremacism. His term was shortened to "alt-right" and popularised by far-right participants of /pol/, the politics board of web forum 4chan. It came to be associated with other white nationalist websites and groups, including Andrew Anglin's Daily Stormer, Brad Griffin's Occidental Dissent, and Matthew Heimbach's Traditionalist Worker Party. Following the 2014 Gamergate controversy, the alt-right made increasing use of trolling and online harassment as a tactic to raise its profile. In 2015 it attracted broader public attention—particularly through coverage on Steve Bannon's Breitbart News—due to alt-right support for Donald Trump's 2016 presidential campaign. On being elected, Trump disavowed the movement. Attempting to move from an online-based to a street-based movement, Spencer and other alt-rightists organised the 2017 Unite the Right rally in Charlottesville, Virginia, which faced significant anti-fascist opposition. After this, the movement began to decline.
The alt-right is a white nationalist, biologically racist movement. Part of its membership supports anti-immigrationist policies to ensure a continued white majority in the United States. Others call for the breakup of the country to form a white separatist ethno-state in North America. Some alt-rightists seek to make white nationalism socially respectable in the U.S., while others—known as the "1488" scene—adopt openly white supremacist and neo-Nazi stances. Some alt-rightists are anti-semitic, promoting a conspiracy theory that there is a Jewish plot to bring about white genocide; other alt-rightists view most Jews as members of the white race. The alt-right is anti-feminist, advocates for a more patriarchal society, and intersects with the men's rights movement and other sectors of the online manosphere. Alt-rightists generally support anti-interventionist and isolationist foreign policies alongside economic protectionism and thus criticise mainstream U.S. conservatism. Attitudes to social issues like homosexuality and abortion vary within the movement. Individuals aligned with many of the alt-right's ideas but not its white nationalism have been termed "alt-lite".
The alt-right distinguished itself from earlier forms of white nationalism through its largely online presence and its heavy use of irony and humor, particularly through the promotion of Internet memes like Pepe the Frog. Membership was overwhelmingly white and male, with academic and anti-fascist observers linking its growth to deteriorating living standards and prospects, anxieties about the place of white masculinity, and anger at increasingly visible left-wing forms of identity politics like the Black Lives Matter movement. Constituent groups using the "alt-right" label have been characterised as hate groups, while alt-right material has been a contributing factor in the radicalization of young white men responsible for a range of far-right murders and terrorist attacks in the U.S. since 2014. Opposition to the alt-right has come from many areas of the political spectrum including socialists, liberals and conservatives.Anna Akana
Anna Kay Akana (born August 18, 1989) is an American actress, filmmaker, musician, author, and comedian. She is known for her YouTube channel, which has over 2.5 million subscribers and over 226 million video views.Asian Babes
Asian Babes was a British softcore pornographic magazine which featured photographs of women of South Asian, Korean, Chinese, Japanese, and Thai origin. The magazine was launched in March 1992 and initially used only Indian and Pakistani models from the United Kingdom. Later, Asian models from other countries were also included. The magazine was initially published by Northern & Shell, a newspaper and magazine publishing group owned by the businessman Richard Desmond. In 2004 Northern & Shell sold the magazine to Remnant Media, a publishing company which produced a number of other pornographic magazines. Remnant went into administration in 2007 and the magazine was then bought by Trojan Publishing and subsequently by Interactive Publishing. Asian Babes had ceased publication by 2012.Charisma Man
Charisma Man (カリスママン, Karisuma Man) is a comic strip that first appeared in the February 1998 issue of The Alien (later known as Japanzine), a monthly magazine for expatriates in Japan.Larry Rodney created the strip and wrote the first eleven installments, which were illustrated by Glen Schroeder. In January 1998, after Rodney left Japan, Neil Garscadden assumed writing responsibilities while Wayne Wilson illustrated. From 2002, Garscadden handed it to another writer, Wayne Wilson. The strip was discontinued in 2006, but in 2009, Rodney and Garscadden announced plans to team up and compile a book of previous strips with new installments.The strip has been discussed in mainstream English language daily newspapers in Japan, and a compendium of Charisma Man's exploits is available both in major Japanese bookshops and online.Doctor Strange (2016 film)
Doctor Strange is a 2016 American superhero film based on the Marvel Comics character of the same name. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the fourteenth film in the Marvel Cinematic Universe (MCU). The film was directed by Scott Derrickson from a screenplay he wrote with Jon Spaihts and C. Robert Cargill, and stars Benedict Cumberbatch as surgeon Stephen Strange along with Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt, Scott Adkins, Mads Mikkelsen, and Tilda Swinton. In the film, Strange learns the mystic arts after a career-ending car crash.
Various incarnations of a Doctor Strange film adaptation had been in development since the mid-1980s, until Paramount Pictures acquired the film rights in April 2005 on behalf of Marvel Studios. Thomas Dean Donnelly and Joshua Oppenheimer were brought on board in June 2010 to write a screenplay. In June 2014, Derrickson was hired to direct, with Spaihts re-writing the script. Cumberbatch was chosen for the eponymous role in December 2014, necessitating a schedule change to work around his other commitments. This gave Derrickson time to work on the script himself, for which he brought Cargill on to help. The film began principal photography in November 2015 in Nepal, before moving to the United Kingdom and Hong Kong, and concluding in New York City in April 2016.
Doctor Strange had its world premiere in Hong Kong on October 13, 2016, and was released in the United States on November 4, in 3D and IMAX 3D. The film grossed over $677 million worldwide, and was met with praise for its visuals and cast. The positive elements received awards attention, including an Academy Award nomination for Best Visual Effects. A sequel, Doctor Strange in the Multiverse of Madness, is scheduled for release on May 7, 2021.Ethnic pornography
Ethnic pornography is a genre of pornography featuring performers of specific ethnic groups, or depictions of interracial sexual activity. Though productions can feature any type of ethnic group (Caucasian, Asian, Black, Native American), the most common emphasis is on relationships between white- and black-skinned individuals.Gabe Lewis
Gabriel “Gabe” Susan Lewis (born in 1982)
is a fictional character on the U.S. comedy television series The Office portrayed by Zach Woods. He is an original character and has no counterpart in the British version of the series.
He first appears in the sixth season, where he is the Coordinating Director of Emerging Regions for the Sabre Corporate headquarters in Florida.
Towards the end of Season 6, he is assigned to overlook the recently acquired Dunder Mifflin Scranton branch (the most profitable of all the branches). At the end of the seventh season, CEO Jo Bennett decides to reassign him back to Florida, due to his personal issues within the office, over his breakup with receptionist Erin Hannon and his open hostility towards Andy Bernard.
However, in the eighth season, Gabe is back in the Scranton office without any on-screen explanation.
However, in the Season 8 episode "Trivia", Gabe outlines that Corporate made a bafflingly illogical deal with the Scranton office, which would have Gabe be in Tallahassee three days a week and in Scranton for two, resulting in having to fly every night of the work week between the locations.
As revealed in "Moving On", he was terminated from Sabre following the company's liquidation, but is hired back at the Scranton branch as the new Management Consultant by Regional Manager Andy Bernard in a gambit to make Erin uncomfortable after she broke up with him in order to be with customer service representative Pete Miller.Index of articles related to Asian Americans
This is an alphabetical index of topics related to Asian Americans.Kristina Wong
Kristina Wong (黄君儀) is an American comedian known primarily for her work as a solo theater performer, artist and actor. Wong is a third generation Chinese American born in San Francisco and living in Los Angeles. She currently serves as an elected representative of the Wilshire Center Sub-district 5 Koreatown Neighborhood Council.Kung Fu Elliot
Kung Fu Elliot is a 2014 Canadian film co-directed by Matthew Bauckman and Jaret Belliveau, reportedly a documentary, concerning the attempt of Elliot "White Lighting" Scott to become "Canada's first action star".Ling Woo
Ling Woo is a fictional character in the US comedy-drama Ally McBeal, portrayed by Chinese-American actress Lucy Liu. A Mandarin-speaking Chinese-American lawyer, Ling has been described as cold and ferocious and knowledgeable in an art of sexual pleasure unknown to the Western world.At the time, she was cited as the most famous and only significant representative of Asian women on US television (besides news anchors and reporters). Thus, the portrayal of Ling Woo attracted much scholarly attention in the US.Racial fetishism
Racial fetishism involves fetishizing a person or culture belonging to a race or ethnic group. This can include having strong racial preferences in dating. For example, an Asian fetish focusing on East Asian, Southeast Asian and to some extent South Asian women is quite prevalent in Australasia, North America and Scandinavia. There is also a subsection of BDSM, which involves fetishizing race called "raceplay".Susanne Schotanus, with the University of Amsterdam, defined raceply in an international journal as “a sexual practice where the either imagined or real racial background of one or more of the participants is used to create this power-imbalance in a BDSM-scene, through the use of slurs, narratives and objects laden with racial history.”Sarong party girl
Sarong party girl (also known as SPG) is a derogatory term used in Singapore and (to a lesser extent) in Peninsular Malaysia.
It describes a local, solely Asian woman (e.g., a Chinese or Malay or Indian girl) who usually dresses and behaves in a provocative manner, and who exclusively dates and prefers white men. The Sarong Party Girl stereotype was popularised by a series of humorous books by Jim Aitchison in the 1990s, offering a satirical portrayal of the SPG and related aspects of Singaporean culture.
The term has its fairly innocuous roots in the late 1940s to early 1950s when Singapore was still ruled by the British. As a general practice, the British forces personnel socialised very much among themselves, according to their military ranks and status (i.e. officers as opposed to enlisted men). However, there were some instances when specific local "guests" were invited to social functions hosted by the British. The term "sarong party" came into use to describe social functions which included local invited "ladies". The sarong is a local native word for wrap-around skirt, popular among local men and women of the time. It is still worn today. Over time, the term has taken on a somewhat more derogatory meaning.Stereotypes of East Asians in the United States
Stereotypes of East Asians are ethnic stereotypes found in American society about first-generation immigrants, and American-born citizens whose family members immigrated to the United States, from East Asian countries, such as China, Japan, South Korea, and Taiwan. Stereotypes of East Asians, like other ethnic stereotypes, are often portrayed in the mainstream media, entertainment, literature, internet and other forms of creative expression in American society. These stereotypes have been largely and collectively internalized by society and have mainly negative repercussions for Americans of East Asian descent and East Asian immigrants in daily interactions, current events, and government legislation. Media portrayals of East Asians often reflect an Americentric perception rather than realistic and authentic depictions of true cultures, customs and behaviors. In the past, East Asian Americans have experienced discrimination and have been victims of hate crimes related to their ethnic stereotypes, as it has been used to reinforce xenophobic sentiments.Vu T. Thu Ha
Vu T. Thu Ha is an interdisciplinary artist who works primarily in film, photography and conceptual art.Vu's 2006 feature film Kieu, running time 74 minutes, in English, with Vietnamese dialogue, was inspired by Vietnamese epic poem Truyen Kieu (The Tale of Kieu), by Nguyen Du. Kieu premiered in March 2006 at the San Francisco International Asian American Film Festival.Vu is also the director of 16mm films Each Night (2001) and Shut Up White Boy (2002). Shut Up White Boy, a comedic film that screened nationally and internationally, is about a young white man with an Asian fetish who "gets his cumuppence when the diner's staff of asian dykes decide on taking creative revenge."Yellow Fever (film)
Yellow Fever is a short film by Rod Stewart's Ambition, created in one week for Campus MovieFest in 2011. The short played at Campus MovieFest's New York University competition in New York, NY where it won the Audience award, and went on to screen at the CMF International Grand Finale. The title makes reference to a slang term for an Asian Fetish.Yellow cab (stereotype)
Yellow cab (イエローキャブ, Ierō Kyabu) is a term referring to an ethnic stereotype of Japanese women, and by extension other East Asians, suggesting that they are sexually available to foreign men. The term combines the use of "yellow" to refer to Asians and the image of a yellow taxicab which can be "ridden at any time". It specifically refers to wealthy women who travel overseas or to foreign enclaves in Japan seeking to meet foreign men. The term is alleged to have been coined by English-speaking foreigners who encountered such women in the late 1980s, but was quickly appropriated by the Japanese media as a way of sensationalizing and censuring the women's behaviour. The Japanese term is a gairaigo (i.e., transliterated from English).Yellow fever (disambiguation)
Yellow fever is an acute viral hemorrhagic disease.
Yellow fever may also refer to:
The Yellow Fever, fan club for New Zealand football team Wellington Phoenix FC
Yellow Fever (album), a 1975 blues-rock album by Hot Tuna
Yellow Fever!, a 2006 Latin-electronica album by Señor Coconut (Uwe Schmidt)
Yellow Fever (play), 1982 play by R. A. Shiomi
"Yellow Fever" (Supernatural), episode of the television series Supernatural
Yellow Fever (film), a 2011 short student film
"Yellow Fever", a song by Bloodhound Gang from their 1996 album One Fierce Beer Coaster
A slang term for East Asian fetish, a sexual preference for people of East Asian ancestry by people of non-Asian ancestry
"Yellow Fever", a song by Fela Kuti