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Edward said introduction to orientalism summary
Orientalism said introduction summary
Introduction of orientalism
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Orientalism is a study of language and traditions of the people and their culture in the Middle East. These studies are mostly done by people outside of the culture that is being looked at, and mostly the studies are being performed by white western men. Edward Said believed that there was a problem with the way in which other people were studying and writing about his culture. He was upset and spoke up when he wrote a booked called “Orientalism,” in his book he points out many reasons why the study of orientalism is hurting the cultures in which they are studying. The study of other cultures and countries better known as the Orient has become a popular discussion since Said’s book on orientalism was published. This paper will take a look at what Orientalism is, and some of the surrounding topics that come with it like identity, power and knowledge, discourse, and the arts. It will also examine a Hollywood film called “Bride and Prejudice,” while focusing on points that make this movie a form of orientalism.
Edward Said was born in Jerusalem, Palestine in 1935 he lived in Egypt and Lebanon for the beginning of his life however, and he went to upper class prep schools in Cairo and New England. After we went on to university at Princeton were he got a degree and then finished with a doctorate at Harvard University as told by Krishna in his booked titled “Globalization & Postcolonialism.” With all the privileges that Said received throughout his life he still considers himself to be a “Palestinian and passionately identified with their sufferings” (Irwin 2006, 278). As one can see from his schooling career that Said was of an upper class citizen and had many opportunities that many people in his countries would not be granted. Edw...
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...the Orient’ in blockbuster movies- can you think of any films where they are the lead heroic characters?” (Sharp 2009, 35) To me I see this as Orientalism with showing the fact that only white men can be seen as the heroes and save the day, while the helpless Middle eastern people are seen sitting around praying and hoping that their daughter comes back.
“Orientalism is still with us but in a slightly different form” (Sharp 2009, 35). Orientalism as Edward Said wrote about in his book is still seen happening today. Orientalism has shaped who we are as a western culture and who the Orient is as the Eastern cultures, there are many debates between wheatear or not Edward Said was correct in his book, however at this point in history I believe it is more important to start looking at how the East can speak up for themselves and start to define who they really are.
Over the past decades, Hollywood movies have brought out the representations of racial inequality through out various themes of racism and stereotypical ways. One frequent type of racial inequality is that there is a culture or race that is belittled, under-privilege and inferior while the other is superior and high in order. In “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, He identifies the term “magical negro” as: “a saintly African American character who acts as a mentor to a questing white hero, who seems to be disconnected from the community that he adores so much, and who often seems to have an uncanny ability to say and do exactly what needs to be said or done in order to keep the story chugging along in the hero’s favor” (408) and in Mitu Sengupta “ Race Relations Light Years from the Earth” the author examines the movie Avatar as a racist film, and focuses on how it resembles the “white messiah” stereotype. The term “white messiah” is known as a white individual who hold superior power, according to David Brooks of the New York Times, “a stereotype that white people are rationalistic and technocratic while colonial victims are spiritual and athletic, and that nonwhites need the White Messiah to lead their crusades” (Sengupta 213). Both articles dwell and explain the two terms and how it portrays the themes of racism and stereotypes through two elements, known as author’s purpose and main idea. These elements effectively convey the theme because it prevents our thoughts from being scattered by a broad spectrum of ideas and instead, it tells you exactly what is going to be discussed throughout the article.
Over past decades, Hollywood movies have brought out the representations of racial inequality through out various themes of racism and stereotypical ways. One frequent type of racial inequality is that there is a culture or race that is belittled, under-privilege and inferior while the other is superior and high in order. In “The Offensive Movie Cliché That Won’t Die” by Matt Zoller Seitz, He identifies the term “magical negro” as: “a saintly African American character who acts as a mentor to a questing white hero, who seems to be disconnected from the community that he adores so much, and who often seems to have an uncanny ability to say and do exactly what needs to be said or done in order to keep the story chugging along in the hero’s favor” (408) and in Mitu Sengupta “ Race Relations Light Years from the Earth” the author examines the movie Avatar as a racist film, and focuses on how it resembles the “white messiah” stereotype. The term “white messiah” is known as a white individual who hold superior power, according to David Brooks of the New York Times, “a stereotype that white people are rationalistic and technocratic while colonial victims are spiritual and athletic, and that nonwhites need the White Messiah to lead their crusades” (Sengupta 213). Both articles dwell and explain the two terms and how it portrays the themes of racism and stereotypes through two elements, known as author’s purpose and main idea. These elements effectively convey the theme because it prevents our thoughts from being scattered by a broad spectrum of ideas and instead, it tells you exactly what is going to be discussed throughout the article.
It is often said that history is written by the victor, and in the race to industrialization of the past two centuries, Western Europe and the United States have emerged as the victors. This enabled them to write a history in which their rise to power was preordained and inevitable and in which Eastern cultures are viewed as backward and intolerant. These Eurocentric histories have so fully permeated the global psyche that the stereotypes they have perpetuated inform our cultural interactions to this day. However, an unbiased look at the premodern history of Asia and the Middle East reveals the inaccuracy of the Eurocentric paradigm. Contrary to the Eurocentric view, there is nothing inherently intolerant about Islam or Middle Eastern and East Asian culture. In fact, many of the societies that have existed in the East have been extraordinarily tolerant and heterogeneous.
Andre, Judith. “Stereotypes: Conceptual and Normative Considerations.” Multicultural Film: An Anthology. Spring/Summer 2014. Eds. Kathryn Karrh Cashin and Lauren Martilli. Boston, MA: Pearson, 2013.
As the world progresses, developments occur that have a profound significance on the entire nature in which society functions. One such event is the growth of the film industry that has prompted restructuring of the way we view certain groups of people. Hollywood can be seen not only as a major driving force behind cultural, political, and social change, but also as an enforcer of preconceived notions and an outlet of misrepresentation. Among the various groups of people illustrated on the silver screen, Arabs are perhaps one of the most misunderstood and stereotyped groups of Hollywood. This multi-billion dollar industry produces a wide range of movies that heavily influence the way we perceive this group, and most importantly, the way in
In the remainder of my essay I will be commenting on many modern films and their use of this trope, and why subscribing to this filmmaking strategy is problematic. The White Savior Complex is a trope where an ordinary ethnically European character meets an underprivileged non-European character. Taking pity on the other characters situation, the White Savior ‘selflessly’ volunteers themselves as their tutor, mentor, or caretaker, to help them rise above their predisposition (White Mans Burden, 2004). The White Savior, at their core, is the application of colonialized ideals, which cast people of colour as incompetent, and hopeless, until the White Savior comes to rescue them (White Mans Burden, 2004). A common destructive trait of this trope involves white people conquering non-white people, and eliminating their culture under the prefix of 4helping them (White Mans Burden, 2004).
...ent from the silent era of film, overt racism of ethnic minorities was blatantly apparent within the film medium. However, presently this overt racism however has shifted into a more subtle segregation of casting and racial politics within the film medium. It seems that both the problem and the solution lies in the Eurocentric domination within the Hollywood film industry – and it seems that it still remains challenged to this day.
Yet, when discussing the origins and impact of Orientalism, the concept continues to be bolstered by the trendy era of technology. The illustration of the Orient is currently being viewed on television, in films, and on the World Wide Web. These representations of the Orient are available in a lot of condensed forms, and are simpler and more effective than before. The concept of Orientalism is a European created mirror reflecting itself. The Orientalist described himself by defining the Oriental and this helped him be superior. The representation of the Orient through arts and literature empower the thought of Orientalism, and whereas people at large will write their own history, i feel this distorts the facts and results in misconceptions about the Orient.
During the Age of Exploration, early orientalism started to take shape in fashion. Since, the East has remained an inspiration and influence to Western culture. In spite of this, oriental dress does not symbolise cultural flexibility and acceptance, but rather imperialism. It is a metaphor whereby the West establishes a dominant role over the East by studying and reproducing oriental culture. As Edward W. Said put it, “Imperialism consolidated the mixture of cultures and identities on a global scale. But its worst and most paradoxical gift was to allow people to believe that they were only, mainly exclusively…Oriental” . Moreover, this essay will explore the tumultuous relationship between the East and the West, as well as discuss the impact and progress of Orientalism in fashion.
The colonial enterprise, particularly the European imperialist projects in the east, has forever changed concepts of identity, otherness, and power in both the Occident and the Orient. Both sides were indisputably and irrevocably altered; however, the effect upon native cultures (the colonized) was far greater than the effect on the imperial cultures (the colonizers). European colonizers were able to cherry-pick the greatest parts of “new” culture—their art, their music, their architecture, or their cuisine—and adopt or adapt it to modern imperial life. In many ways, the cultural practices and artifacts of a newly colonized civilization were treated like the natural resources (oil, silk, spice) the Europeans were there to gather: they mattered only in their usefulness to the empire. Unlike their imperial counterparts, however, the native peoples had no choice which customs and practices to adopt, and which to discard. The sheer military might and nature of the colonial enterprise demanded that the colonized completely adapt to the social and cultural norms of the empire. In essence, then, the colonized were forced to lead a life of double consciousness, wherein they participated in customs and practices and obeyed laws and regulations in which they did ...
While watching movies, have you ever noticed that the villains in almost every single Hollywood film are of Middle Eastern or European descent? In a reoccurring theme of Hollywood, the villains in these films are almost always foreigners or people of color. This is a stereotype. On the other side of the spectrum, we often see that the heroes of these films are most often than not white males. This is another stereotype. Within the last few years, we’ve seen actors such as Will Smith, Morgan Freeman, and Zoe Saldana take the lead roles, so it can’t be said that there are no non-white heroes, but there certainly isn’t many. Hollywood action movies, moreover than other genres, are typically loaded with an abundance of stereotypes. The way these movies are composed and structured can tell us a great deal about the views held within the American psyche and who holds the social power. The harsh reality is that the media ultimately sets the tone for societal standards, moralities, and images of our culture. Many consumers of media have never encountered some of the minorities or people of color shown on screen, so they subsequently depend on the media and wholeheartedly believe that the degrading stereotypes represented on the big screen are based on fact and not fiction. Mary Beltran said it best when she stated in her “Fast and Bilingual: Fast & Furious and the Latinization of Racelessness” article, “ultimately, Fast & Furious mobilizes notions of race in contradictory ways. It reinforces Hollywood traditions of white centrism, reinforcing notions of white male master while also dramatizing the figurative borders crossed daily by culturally competent global youth – both Latino and non-Latino” (77). This paper will specifically look...
This report will address three fundamental themes of intercultural comm-unication: stereotyping, discrimination, prejudice, essentialism, and their func-tions in every day life, relativism and ethnocentrism as a role in worldview, and the rapid increase in cultural diversification around the world. Gender and sexuality are not deemed relevant to the case at hand, and will not be exam-ined in this report.
Hollywood movies characterize Asians as inferior with thick accents, who are unable to grasp American culture. Asian males and females rarely play major roles in cinema. Even when they are casted, Asians are assigned the role of a lost tourist further demonstrating how Americans view them as clueless and in need of guidance. There is more than one concern in the media. The issue of blackface is well documented, however yellowface has received less attention.
Globalization is becoming one of the most controversial topics in today’s world. We see people arguing over the loss of a nation’s cultural identity, the terror of westernization, and the reign of cultural imperialism. Through topics such as these we explore the possibilities or the existence of hybridization of cultures and values, and what some feel is the exploitation of their heritage. One important aspect that is not explored is that such influences can also be more than just a burden and an overstepping of bounds. These factors can create an educational environment as well as a reaffirmation of one’s own culture.
Edward W Said, the renowned author of Orientalism (1978) now expands his scope, which he admits was limited to the Middle East, in his book “Culture and Imperialism. In the introduction of the book, much like the rest of the book, he talks about colonialism and imperial in context of western literature written around 19th and 20th century. Showing the effects of imperialism and colonization, on the colonizer as well as the colonized, interpreted through the eyes of writers such as Charles Dickens in Great Expectations-- and Joseph Conrad in Nostromo(1904). One puts light on the United Kingdom and its relation with it colony of Australia, a classic example of colonialism. On the other hand Conrad in ‘Nostromo’ reflects on imperialism with the example of Central America which, while being an independent republic, was being dominated by outside forces because of economic and political interests. By presenting these two examples Said covers most of what the topic “culture and imperialism” is to him and his point of view, while including two of the biggest examples, in terms of nations and there influence on other regions, on the subject. Although the examples may be seen as few on a subject so vast, it in affect is enough for Edward to prove that much of western literature has taken its influence from the effects of decolonization as well as imperialism, also the resistance to both.