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Arabs in Hollywood : Orientalism in film Dajani, Najat Z. J.
Abstract
Early representations of Arabs and Muslims in Hollywood productions were largely drawn from the literary works of the nineteenth and early twentieth centuries. They, in turn, were inspired by depictions found in Elizabethan manuscripts, which took their cue from the Middle Ages. Films like The Sheik (George Melford, 1921) and The Son of the Sheik (George Fitzmaurice, 1926) present the Arab as a barbaric savage, not yet cultured by civilization. These 'desert romances' started a filmic tradition, which lasted for a number of decades. Portrayals of the desert Arabs in The Sheik also left their mark on 'historically based' films, like Lawrence of Arabia (David Lean, 1962) and Khartoum (Basil Dearden, 1966). By the late sixties, however, representations of Arabs and Muslims had changed in a drastic manner. No longer seen as romantic and erotic, Arab/Muslim portrayals in Hollywood films were influenced by the politics of the day. Islam not only posed an ideological threat to Christianity, but was also staking territorial and nationalistic claims, in the form of the Palestinians fighting for self-determination. Depictions from Hollywood followed suit, with films like Black Sunday (John Frankenheimer, 1977), opting to take Israel's side, in its fight against the Arabs. Today's world, which calls for a peaceful resolution to conflict has once again, brought upon a change in Arab/Muslim representations found in Hollywood productions. A nostalgic search for the exotic foreigner can once again be seen in films like The 13th Warrior (John McTiernan, 1999). Just as they did after the Vietnam War, American filmmakers are now reflecting upon past actions in the Gulf, through such films as Three Kings (David O. Russell, 1999). Much as Professor Edward W. Said and other post-colonialists have done, I will concentrate on singling out the negative aspects of Orientalism, with regard to the chosen films. I will trace the origins of Arab/Muslim images in Hollywood since the early days of film to the present day. Films are also analyzed and viewed through historical, political and cultural contexts to show why these images prevail, and what changes, if any, have been presented on the screen.
Item Metadata
Title |
Arabs in Hollywood : Orientalism in film
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Creator | |
Publisher |
University of British Columbia
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Date Issued |
2000
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Description |
Early representations of Arabs and Muslims in Hollywood productions were
largely drawn from the literary works of the nineteenth and early twentieth centuries. They,
in turn, were inspired by depictions found in Elizabethan manuscripts, which took their cue
from the Middle Ages. Films like The Sheik (George Melford, 1921) and The Son of the
Sheik (George Fitzmaurice, 1926) present the Arab as a barbaric savage, not yet cultured by
civilization. These 'desert romances' started a filmic tradition, which lasted for a number of
decades. Portrayals of the desert Arabs in The Sheik also left their mark on 'historically
based' films, like Lawrence of Arabia (David Lean, 1962) and Khartoum (Basil Dearden,
1966). By the late sixties, however, representations of Arabs and Muslims had changed in a
drastic manner. No longer seen as romantic and erotic, Arab/Muslim portrayals in Hollywood
films were influenced by the politics of the day. Islam not only posed an ideological threat to
Christianity, but was also staking territorial and nationalistic claims, in the form of the
Palestinians fighting for self-determination. Depictions from Hollywood followed suit, with
films like Black Sunday (John Frankenheimer, 1977), opting to take Israel's side, in its fight
against the Arabs. Today's world, which calls for a peaceful resolution to conflict has once
again, brought upon a change in Arab/Muslim representations found in Hollywood
productions. A nostalgic search for the exotic foreigner can once again be seen in films like
The 13th Warrior (John McTiernan, 1999). Just as they did after the Vietnam War, American
filmmakers are now reflecting upon past actions in the Gulf, through such films as Three
Kings (David O. Russell, 1999).
Much as Professor Edward W. Said and other post-colonialists have done, I
will concentrate on singling out the negative aspects of Orientalism, with regard to the
chosen films. I will trace the origins of Arab/Muslim images in Hollywood since the early
days of film to the present day. Films are also analyzed and viewed through historical,
political and cultural contexts to show why these images prevail, and what changes, if any,
have been presented on the screen.
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Extent |
5665451 bytes
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Genre | |
Type | |
File Format |
application/pdf
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Language |
eng
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Date Available |
2009-07-10
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Provider |
Vancouver : University of British Columbia Library
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Rights |
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.
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DOI |
10.14288/1.0099552
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URI | |
Degree | |
Program | |
Affiliation | |
Degree Grantor |
University of British Columbia
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Graduation Date |
2000-11
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Campus | |
Scholarly Level |
Graduate
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Aggregated Source Repository |
DSpace
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Item Media
Item Citations and Data
Rights
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.