Director Deborah Gee and Diane Mei-Wong, representing Asian-Women United, in Person Outtakes or take out, Wayne Wang's short film uses the female cast from Dim Sum to contest some prevalent stereotypes held about Asian-American women. Terms like "docile", "patient" and "deferent" fail to describe the women of Take Out who laugh about wimpy men, plot their burgeoning careers, and question the virtues of matrimony. This is not to say that they are steely sharks swimming into the future. Wang's snappy, musically driven film also toys with the fragility of women hesitant to break with the traditions of the past. Slaying the Dragon delves into the past to seek out the origin of some of these misshapen images of Asian-American women. Director Deborah Gee employs the media as her image resource, finding powerful populist portrayals of the "Dragon Lady," the villainous vamp, as early as 1924. Interviews with influential Asian-American actresses, such as Nancy Kwan and Nobu McCarthy, testify to the off-screen impact of these early stereotypes. Slaying the Dragon then examines how "corrected" stereotypes have been reinstated by the "Connie Chung" role, the Asian-American woman as elegant, humorless and impassive. Arthur Dong dramatizes his exploration of women fighting for autonomy in a social landscape dominated by oppressive values. Set in rural 1914 China, Lotus focuses on a traditional woman with bound feet who must decide whether to acquiesce to an out-dated custom and bind her daughter Joy's feet. Lotus' strict but loving mother-in-law insists that Joy's feet be bound in order to make her acceptable for up-scale matrimony and, thus, a secure future. Lotus, for the first time in her life, avoids blind obedience. She is further influenced by her friend, Coral, a performer with a traveling Cantonese opera troupe who openly challenges the outlawed custom. In the end, Lotus makes a decision which threatens her own social standing and changes her daughter's life forever.