Orientalism And Orientalism

These films have included certain features that can be seen as covert racism, a form of racial discrimination that is disguised and subtle, rather than public or obvious. In their film Aladdin, released in 1992 introduced the sixth Disney princess Jasmine, Disney include a song as the opening credits that created great controversy. The original song lyrics were, “Oh, I come from a land, from a faraway place where the caravan camels roam. Where they cut off your ear if they don’t like your face. It’s barbaric, but hey, it’s home.” After receiving negative criticism Disney agreed to change the lyrics of the song after obtaining approval from the song producers. However, the Arabic community was not fully thrilled about the song after the change. It was "nowhere near adequate, considering the racism depicted in 'Aladdin,' " said Don Bustany, the president of the Los Angeles chapter of the American-Arab Anti-Discrimination Committee (Fox). In the film, Disney attempts to recreate Arabic culture by including what they believe as producers will represent the culture. “When they show a market where the signs are meant to be in Arabic but are written in a form of gibberish, it implies there really isn't a culture in existence that uses that language" (Shweffi). For their latest film Moana, the producers of the movie attempted to fully capture and represent Polynesian culture to the best of their

Literary Analysis of Aladdin Disney’s Aladdin is a film that attempts to stereotype and westernize Arab culture. Using racially inaccurate stereotypes, an inaccurate depiction of The Middle East, as well as countless cultural generalizations, Aladdin creates a setting of “exotic orientalism” and Islamaphobia. “[Aladdin depicts…] the Arab world as backwards and irrational, the film’s distorted ethnic representations fuel the western world’s fear of alternity and perpetuates dangerous stereotypes.” (Heydt).

The animated classical Disney movie Aladdin has became one of the most successful movies since it was released in 1992. This movie may seem to be fairy-tale based and entertaining for children since they are the main target audience of Disney, but with a deeper look into its details this is not the reality of it. The ideas that children are exposed to from watching this movie help create and structure their mindsets as well as reinforcing unrealistic images of the Arabian world. In addition, Aladdin is a great illustrative tool in reflecting the concept of Orientalism, a term coined by Edward Said, which emphasizes on representing the Orient with certain clichés and characteristics that are misleading about the true nature of reality (Said, 1978). With that been said, this review paper will be focusing on the main characters and the way they are

The world of Disney it is not necessarily magic for everyone. In Western popular culture there is an endless buffet serving stereotypical ideologies for racially marked women. The media often relies on representation of articulation of ethnic women as animalistic, inferior and outside the natural. Films tend to utilize signifiers that express race, class and gender to develop characters. For this assignment, I have chosen to critically analyze Disney’s (1992) Aladdin; this movie exemplifies the racialization of female bodies through visual illustrations that reinforce ideas of stereotypical roles of Middle Eastern that have been over-looked through the eyes of children. Aladdin; is considered a modern example of Edward Said’s concept of orientalism from a Western perspective. In this paper I will examine how Disney’s Aladdin perpetuates ideas of ‘othering’ through orientalism, over-sexualized characters and reinforces islamophobia.

I must confess that I am guilty of harboring unconscious stereotypes of Asian women. Kathleen Uno’s article “Unlearning Orientalism: Locating Asian and Asian American Women in Family History” brought this to light. She makes a very strong argument that Orientalism has exaggerated Asian patriarchy and the subordination of women; therefore, influencing research to highlight only the oppressive aspects of the Asian family. Uno states that once we can free ourselves from the “Orientalist blinders”, it will allow us to shed the stereotypes by revaluating the role of Asian and Asian American women and acknowledging their contributions. (Uno, 2003)

Orientalism, as termed by Edward Said, is meant to create awareness of a constellation of assumptions that underlie Western attitudes towards the Eastern societies. While some of these opinions show the cultures in a positive light, the majority of them are biased and emphasise on depicting negative aspects as perceived by strangers to the Eastern culture.

The writers from the U.S. looks stuck in Orientalism; the perspective which believes that the Western perspective is the only way to describe the international politics in recent situations.

Orientalism has led to a false representation of Asia and the people who come from and live there. Due to these false assumptions of how Asians are portrayed as, many Asian-Americans have struggled with their lives. These struggles ranged from some being persecuted for being a certain race and others for finding it hard to see themselves being represented fairly in media. Asian-Americans have been largely misrepresented and are seen as the “Others”. However, many Asian-American artist, all with different backgrounds, have found ways to bring Orientalist views into questioning and tried to better represent themselves and the Asian-American community. Dumbfounded, Mary Im, and the trio Iijima, Miyamoto, and Chin have all challenged Orientalist

When it comes to the illustrations of his popular characters in Aladdin, Disney proves to be quite racist. Most of the small-part, background characters and especially “the bad guys”, such as Jafar and the palace guards, all have incredibly distinct Arabic appearances. Every one of them stereotypically consists of “beards, large noses, sinister eyes, and heavy accents, and they’re wielding swords constantly” (Giroux, 104). In contrast, Aladdin the hero, looks and talks like an All-American man. His skin is pale and he wants to be addressed as Al, which is an American name rather than Arabic. He does not have a beard, big nose, turban, or accent. The key point in this illustration is that Disney is establishing that Aladdin looks right for the part of a hero, while Jafar looks right for a villain.” Jack Zipes, author of the essay “Breaking the Disney Spell”, clarifies that “though the characters are fleshed out to become more realistic, they are also one-dimensional. There is no character development because the characters are stereotypes, arranged according to a credo of domestication of the imagination”

The European’s mindset by the latter of the third of the 18th century saw that inside each Asian burned the effervescent ember of savagery. Without controlling governance over the people, Europeans believed anarchy would chaotically erupt in Asia. It was believed Asians truly did not have self-control without a supreme leader. Oriental despotism is the idea that the societies in Asia have a single totalitarian-formed government and without this leadership there would be no order to their society. According to Montesquieu, Asian power is absolutist and held in the hands of one. Everything that could possibly happen is in the merciless hands of the despotism. In Montesquieu’s epistolary novel The Persian Letters, he argues for oriental despotism through his two main characters in the story Usbec and Rico. He talks about the economic, political, social and cultural aspects of Persian society that he parallels with oriental despotism. Montesquieu also shows makes his story of the characters into a metaphor of the destruction of oriental despotism. Marx believed in the superiority of the west and the lack of growth in political and economic realms of Asiatic society contributing to the concept of Asian despotism. Finally, Hegel touches on the white man’s burden where he uses oriental despotism to explain the child like relationship Europeans had with the savage orients.

In brief, this study discusses about the representation of orientalism idea which is portrayed in the film Avatar. The film tells about the conflict between human and native people in Planet Pandora, where human exploits the land and oppresses the native. This study explores in what way the idea of orientalism is represented and how both narrative and non-narrative aspects of the film helped in delivering that representation.

One of the things that also affect the development of literary work is Orientalism. Orientalism is one of colonial ideologies which can be found in literary work which can show author’s colonial

I want to research whether portrayals of Orientalism in the media are used to retroactively justify decisions such as imperialism or the Vietnam War. I chose this topic because I found Edward Said’s theory of Orientalism very thought-provoking and wondered if it can apply to contemporary society. In addition to that, I have not seen a lot of contemporary analysis on Orientalism of Southeast Asia. My initial inspiration was when I watched the film No Escape, which seemed blatantly racist and problematic. I narrowed and refined my topic by further researching the concepts of Orientalism and otherness, and considered how they could be applied to this film. Sources that have been key in defining my research topic include scholar articles on Orientalism

In “Social Space and the Genesis of Groups”, Bourdieu (1982) discusses how habitus, as well as different kinds of capital, can combine to determine an individual’s place in society (Bourdieu, 1982 as cited in Applerouth & Edles, 2016). In “Outline of a Sociological Theory of Art Perception”, Bourdieu (1968) discusses “art” and how it is that those with greater capital are able to engage with art (Bourdieu, 1968 as cited in Applerouth & Edles, 2016). Although the greater narrative implies that those with greater capital can engage “art” because of innate qualities, the reality is that through their continued exposure to art (which stems from their economic capital), they can develop an understanding of it (Applerouth & Edles, 2016). In Edward Said’s (1978) Orientalism, Said (1978) discusses “orientalism”, the areas of study that focus on the areas “east” of Europe (Said, 1978 as cited in Applerouth & Edles, 2016). Said’s (1978) point is that “western” scholars have created this idea of the “orient” to create a distinction between themselves and those from areas that were part of the “oriental” umbrella (Said, 1978 as cited in Applerouth & Edles,

“...Orientalism is not so innocent a form of knowledge as this. Instead, he redefines Orientalism as the ubiquity of a sense of the division of the world into two spheres in aesthetic production, popular culture, and scholarly, sociological, and historical texts. In other words, he is suggesting that the concept of difference between east and west is a geopolitical difference which is written up throughout the texts of western culture whether through travel writing, political texts, paintings, or in academic discussions” (Sharp 2009, 31).