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Respecting Foucault’s words, we can say that the shift of representation from narratives to the cinema does really imply continuity, return and repetition of the previous discursive formation. The rise of movies as a new discursive formation does not lead to the demise or decline of discourse, but a continuity and an extension of cultural domination. This stresses that cinema has marked a continuity of a more complex set of power relations between the “I” and the “other”. The inability of film makers to create a new discursive representation far from the earliest images makes them among the supporters of the myth, which is characterized by uncertainty and fear from the “other” in general. Jack Shaheen, in his major film review books Reel Bad Arabs: How Hollywood Vilifies a People, and Guilty: Hollywood’s Verdict on Arabs after 9/11, in addition to other articles such as “Orientalism and Cinema” and “Hollywood’s Muslim Arabs,” has attempted to disclose the images attributed to Arabs, arguing that it is high time for the Anglo-American cinema to alter its ideology that has long affected the Arab people. In an index of more than 900 films in his first book and over 100 post-9/11 films in the second book, Shaheen depicts and debunks the most prevalent stereotypes of “reel Arabs”. Unfortunately, after his superbly readable historical survey, Shaheen’s list of solutions seem prosaic and lacks deep analysis as Tim Jon Semmerling’s in influential book “Evil” Arabs in American Popular Film: Orientalist Fear, has clearly scrutinized:

“because of its cumulative nature, Shaheen’s book does not reveal what it could about these films. In fact the book overlooks important and unique “how” and “why” performances and strategies used in the construction of “evil” Arab characters in these films”(3).

Basing his work on Jack Shaheen’s “possible new ways of seeing,” Semmerling investigates how the Anglo-American feelings of insecurity remain the main possibilities of “why” they keep using “evil” Arabs for their entertainment. Overall, Semmerling’s scrutiny of Anglo-American Orientalist fear renders this “evil” Arab as actually an illusion that reveals more about that everlasting and haunting fear from Arabs than just misrepresenting them. This shows that the Arab stereotype will still persist to challenge the Anglo-American national ideologies and myths, which also foreshadows that research on this domain may never fall apart. By analogy, across films representing Morocco, this uncertainty and fear made the film makers violate and break everything good in Moroccan culture.

Two of the most enthusiastically and excitedly entertained films in this category , Babel and Five Fingers engage in inexorable representation of people, buildings, spaces, traditions, etc. in the process of reinforcing some of the “present colonial” stereotypes of Moroccan culture. In the Anglo-American “imaginaire” created by Edith Warton and Powl Bowls, Morocco is a deserted land inhabited by hardhearted vagabonds ready to mug any passer by their country. Inarritu, Alejandro Gonzalez’s film Babel deals obsessively with exotic scenes across th本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。