Count Lazlo Almasy, the English Patient, is a man in an Imperial time and world. The people in this world live by Imperial rules and perpetuate Imperial stereotypes. The film takes place in World War II era Africa, and as the film portrays it, in the mysterious and exotic Sahara desert and in Cairo, Egypt. Count Almasy’s character lives in the desert among imperial explorers and in the desert environment full of natives who bring to life classic stereotypes full of ignorance and white prevalence and power. Ella Shohat and Robert Stam, authors of Unthinking Eurocentrism, believe that the Imperial attitudes that the British government and the Western imperial society initiated, continue today and are alive in the cinema. The film, “The English Patient” is a key example of Imperial influence on cinema with the exception of one character: Count Almasy. On the surface, Almasy seems to be just like those around him, but when one looks deeper, his characteristics show that he is in fact an anti-imperial. Almasy’s character invites the viewer to identify with his seeming quest for adventure and then reveals qualities that then revise the colonial stereotypes that he seemed to personify previously.
In the chapter “Imperial Imaginary” by Shohat and Stam, the authors discuss the idea that the perfect imperial subject is the adolescent male because of his vulnerability and hunger for adventure (101). The nature of imperialism is one of power and control. To teach a man to be an imperial one must teach him to love adventure. According to the authors, the empire by its very nature is the man’s plaything and that “boys [can] play in the space of an empire” (101). It gives them the freedom and creativity to explore and through cinema...
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...at, unpredictable weather, and the general exoticism of the Sahara, Almasy is the odd light in the dark of the “Imperial Imaginary”. According to Stam and Shohat’s definition of the imperial, Almasy fits into their
image only on the surface. He believes in many things that are antithetical to that of the imperial,largely his feelings about borders, names, and maps. When one delves deeper into his personality and beliefs, it can be seen that he is in fact the anti-imperial amidst a plethora of imperial stereotypes.
Works Cited
Ondaatje, Michael. The English Patient. New York: Random House, Inc., 1992.
Shohat, Ella, and Robert Stam. Unthinking Eurocentrism: Multiculturalism and theMedia. New York: Routledge, 1994.
”The English Patient”. Dir. Anthony Minghella. Perf. Ralph Fiennes, Juliette Binoche, Willem Defoe, and Kristin Scott Thomas. Miramax, 1996.
V for Vendetta Dir. James McTeigue. Perf. Natalie Portman, Hugo Weaving, Stephen Rea and John Hurt. Warner Bros. Pictures, 2006. Film
Hamlet. Dir. Kenneth Branagh. Perf. Kenneth Branagh, Kate Winslet, Brian Blessed, Richard Briars, Julie Cristie, Billy Crystal, Derek Jacobi, Michael Malony. Castle Rock, 1996.
Eternal Sunshine of the Spotless Mind. Dir. Michel Gondry. Perf. Jim Carrey, Kate Winslet. Focus Features, 2004. DVD.
American Beauty. Dir. Sam Mendes. Writ. Alan Ball. With Kevin Spacey and Annette Bening. Dreamworks SKG, 1999.
In this essay we'll examine the practice of imperialism throughout modern history. Specifically, the philosophies and doctrines that provided justification of its offenses. We'll allow the life of Cecil Rhodes to serve as an entry point for this topic. This is ideal, first because Rhode's ideas and doctrines provide an illustration of imperial doctrine as a whole. Secondly, because Rhode's life is a microcosm of historic imperialism, as we shall see.
The Crucible. Dir. Nicholas Hytner. Perf. Daniel Day-Lewis, Winona Ryder and Paul Scofield. 20th Century Fox, 1996. DVD.
time period. Michael Ondaatje’s novel, The English Patient is set in the direct aftermath of this
Like a tree spreading its roots into the ground, cultural history is something that is deeply rooted in the minds of people. As the significance of Herodotus unravels itself in “The English patient,” Michael Ondaatje touches further upon the idea of how personal history is shaped by cultural history. Ondaatje refers to Tacitus, a great Roman historian, in the third chapter, “Something with Fire” in order to enhance the notion that times of terror can influence the shaping of an individual’s personal history. By focusing on the behavior and habits of the Kip and Caravaggio, he can pinpoint how warfare in cultural history affects the personal history. With the aid of Tacitus’ insight, the use of description, Ondaatje effectively demonstrates how the characters personal history, actions or an inability to act, and habits, are shaped by warfare.
Hamlet. Dir. Franco Zeffirelli. Perf. Mel Gibson and Glenn Close. 1990. Warner Bros., 2004. DVD.
In Michael Ondaatje’s The English Patient we see a world completely ravaged by war. The land itself is damaged, sometimes beyond recognition as it is torn apart by bombs. Just as these human-made structures have faced the damage of imperialism, so have female bodies in the novel. Ondaatje creates several parallels between man’s attempt to “own” the land around him and his “ownership” of the female body. As we see in the novel, this attempt at ownership almost always ends in destruction, “war,” and often, death. What I believe Ondaatje is trying to present to us is the impossibility of “owning” something that should ultimately be free, such as the female body (or any body, for that matter.) Though some feminist theorists such as Lilijana Burcar have claimed Ondaatje’s novel perpetuates the idea of male ownership of female bodies, I believe we see several examples of female empowerment hidden throughout the novel; examples of females outwardly rejecting such “ownership,” as Hanna refuses to be seen as a sexual object by Carravagio, and even changes her appearance to “defeminize” herself. We even see gender-roles reverse. The “male gaze” seems to apply not only to males, but to females as well as Hanna views the sapper, Kip, in a “feminized” and often “sexual” way. Most striking of all, however, is Ondaatje’s representation of the character Katharine as an almost voiceless physical body which is undoubtedly “owned” and consumed by Almasy’s desire. As we see, this “ownership” leads to what is arguably the biggest destruction in the novel: the destruction of both Katharine and Almasy altogether.
To the extent that we see Conrad both criticizing and reproducing the imperial ideology of his time, to that extent we can characterize our own present attitudes: the projection, or the refusal, of the wish to dominate, the capacity to damn, or the energy to comprehend and engage with other societies, traditions, histories.
Cast: Jude Law, Joseph Fiennes, Rachel Weisz, Bob Hoskins, Ed Harris, Ron Perlman, Gabriel Thomson
...h is not restrained by social conventions, Imperialism attempts to justify its savagery. The very fact Imperialists claim to be ‘fighting to the sanity of the world’ demonstrates the corrosive effects it has not only in a confined area, but also to neighboring cultures. By delving deeper into the characters’ subconscious and the true nature of Western Imperialism, the absurdity of what really is considered “true evil” is questioned by both Conrad and Coppola. Despite the fact colonization in various parts of the world officially ended in the 60’s, different systems of indirect rule were put in place because of continued interest in some parts. Both Heart of Darkness by Joseph Conrad and “Apocalypse Now” by Francis Ford Coppola are aware of this continued, albeit unfortunate practice, and represents the futility of expecting the eradication of imperialistic values.
This first concept of Orientalism is blatantly reflected in the words of Evelyn Baring Cromer. Cromer was England's representative in Egypt between 1882 and 1907. He believed in European supremacy and called Egyptians, and all other people he considered Oriental, subject races. He justified European occupation in Egypt with this idea of superio...
Pride and Prejudice. Dir. Joe Wright. Perf. Keira Knightley and Matthew Mcfadyen. 2005. DVD. Focus Features, 2006.