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论文作者:www.51lunwen.org论文属性:学期论文 termpaper登出时间:2014-12-19编辑:Cinderella点击率:10304
论文字数:4799论文编号:org201412171310449893语种:英语 English地区:美国价格:免费论文
关键词:Moroccan cultureArab culture摩洛哥western cultures
摘要:本文对北非国家摩洛哥的文化习俗进行介绍,尤其是西方文明对摩洛哥的负面影响与误解。
The film in its turn as an extension of narratives has sustained the same discourse of novelists, which stresses “the continual reanimation of negative stereotypes of the Arab and Islam in the West today” (Belated Travelers, xiii). Major films shot in Morocco present the Moroccan space -desert and kasbah- as a dangerous setting. Through such representations, film makers seem to seek an identity through military, economic and sexual adventures, in which the Moroccan other is continuously cast as inferior and the dark element of the night. Babel, The Sheltering Sky, Legionnaire, Five Fingers, etc. remain foremost films where film makers insist on the alienating forces of the Moroccan cultural threats, in which the wholesome graciousness of the white character should stand firm. It is rarely that we see some fair characteristics displayed by actors, showing the real image of Moroccans. The favourable setting favoured by film makers is most of the times dirty and shabby districts. The film makers always try to find places even far and may cost them more money just to find a place that can cast Morocco as inferior and uncivilized lacking the basic requirements of life.
Traditional and orientalist writings about Morocco are indistinguishable texts and images affixed and engrafted onto the modish mode of films. From the early talking pictures, Morocco (1930), the classic Casablanca (1942), road comedies Road to Morocco till Five Fingers (2006), Morocco becomes a confining other space and a penal complex for the recalcitrant Anglo-American heroes. The Muslim and Arab gears of prevalently fixed stereotypes are applied likewise to portray Moroccans and supply the requisite background rapscallions, dickhead and wilful, etc. Such representations persevere to inhabit the imaginations and thoughts of the western audience largely and hardly to be changed. Edward Said has clearly identified the function of Arabs in western cinema:
In the films and television the Arab is associated either with lechery or blood thirsty dishonestly. He appears as an oversexed degenerate capable (…) of cleverly devious intrigues, but essentially sadistic, treacherous, low. Slave trader, camel driver, money changer, colourful scoundrel: these are some traditional Arab roles in the cinema. (Orientalism, 286-87)
Unfortunately, Morocco is geographically situated within two antagonist streams of the west as an Arab and African whose religion is Islam; “uncivilized” parts of the world. All types of stereotypes given to Arabs, Muslims and indigenous black Africans are also used identically to describe Moroccans. Throughout history of the Anglo-American cinema, Moroccan characters (Arab, Muslim and African) have served as the quintessential other in foreign cinema. Moroccans have been consistently represented as inferior to the west orally, intellectually, culturally and politically since the early misunderstandings and disagreements during the Barbary Wars.
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