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Representation Of Morocco Through Movie theater Cultural Studies Essay

Morocco, its physical terra firma, citizens and culture, has titillated foreigners long times earlier, even prior to the colonial time. Many travellers, authors and anthropologists like Edith Wharton, Paul Bowles, Clifford Geertz, yet others have made of Moroccan customs and civilization the key themes with their catalogs. Amid the american industrial uprising under the patronage of the imperial inclination, cavalcades of european writers and film makers have portrayed Morocco based on the colonialist requirements and wants of the period. The Anglo-American literary and mediatic productions as legatee to the ideology of American colonies generally, flipped their gazing gawk on another Arab space in North Africa, mainly Morocco. The initial outset of the Anglo-American desire for Morocco can be traced through successive genres of travel narratives, essays, books, etc. that seized Morocco as their subject matter of writing and setting up of shooting films right down to its strategic and intercontinental locus.

Going back to some historical reviews of the literature written about the representation of Morocco in the Anglo-American theatre and literature, we find that political, economic, and spiritual motivations are various pretexts that legitimize the western representation of Moroccan people as well as their different ethnical aspects. In Belated Travelers, Ali Bahdad has shown how westerners from the early travelers to modern tourism have defined the Arab including Moroccan people as "savages", "child like", "sexually thrilling", etc. As an Arab pupil in the United States, A. Behdad recounts some situations that construe him as a menacing Arab:

I couldn't but feel scapegoated by the energy of representation and stereotypes that acquired transformed me into a metonymy of what the center East signifies in the imaginary of america; incomprehensible by terrorism and fanaticism. (Belated Travelers, xii)

From the first British literature led by Daniel Defoe's Robinson Crusoe(book& film) to the American freelance writers led by Paul Bowles' The Sheltering Sky(book& film), Morocco has been presented in the Anglo-American imaginary as a land of "jinns", "dervishes", "harems", all darkly promiscuous, sly and inscrutable.

The film in its convert as an expansion of narratives has suffered the same discourse of novelists, which strains "the continual reanimation of negative stereotypes of the Arab and Islam in the Western today" (Belated Travelers, xiii). Major movies taken in Morocco present the Moroccan space -desert and kasbah- as a dangerous setting. Through such representations, film makers seem to seek an identification through military, financial and sexual adventures, in which the Moroccan other is consistently cast as inferior and the dark element of the night time. Babel, The Sheltering Sky, Legionnaire, Five Fingertips, etc. remain primary films where film makers insist upon the alienating forces of the Moroccan social threats, in which the wholesome graciousness of the white personality should stand firm. It is almost never that people see some fair characteristics exhibited by actors, demonstrating the real image of Moroccans. The favourable environment favoured by film makers is almost all of the times dirty and shabby districts. The filmmakers always look for places even far and may cost them more income merely to find a location that can cast Morocco as second-rate and uncivilized lacking the essential requirements of life.

Traditional and orientalist writings about Morocco are indistinguishable texts and images affixed and engrafted onto the modish setting of films. From the early conversing pictures, Morocco (1930), the typical Casablanca (1942), highway comedies Street to Morocco till Five Fingers (2006), Morocco becomes a confining other space and a penal organic for the recalcitrant Anglo-American heroes. The Muslim and Arab gears of prevalently set stereotypes are applied in the same way to portray Moroccans and supply the requisite record rapscallions, dickhead and wilful, etc. Such representations persevere to inhabit the imaginations and thoughts of the traditional western audience basically and hardly to be improved. Edward Said has evidently discovered the function of Arabs in european cinema:

In the videos and tv the Arab is associated either with lechery or blood vessels thirsty dishonestly. He looks as an oversexed degenerate suitable () of cleverly devious intrigues, but essentially sadistic, treacherous, low. Slave investor, camel drivers, money changer, colourful scoundrel: they are some common Arab assignments in the movie theater. (Orientalism, 286-87)

Unfortunately, Morocco is geographically situated within two antagonist streams of the western as an Arab and African whose religious beliefs is Islam; "uncivilized" parts of the world. All types of stereotypes given to Arabs, Muslims and indigenous dark-colored Africans are also used identically to describe Moroccans. Throughout record of the Anglo-American movie theater, Moroccan people (Arab, Muslim and African) have dished up as the quintessential other in international theatre. Moroccans have been consistently represented as inferior to the western orally, intellectually, culturally and politically since the early on misunderstandings and disagreements during the Barbary Wars.

From the Barbary Wars to Babel and Five Fingers Wars

The background of Anglo-American hostility and disavowal towards Moroccans goes back to the Barbary Wars during the 18th century when Morocco refused the Western and American ships to cross the Moroccan coast unless they pay tribute to the state of hawaii. Though France and England paid tribute, the united states refused to pay even a dollar considering the practice piracy and developed a hostile coverage into the Barbary areas (including Morocco) (Chidasey, 1971, p. 1 phd). Due to the USA's refusal to pay tribute, many American boats were captured and many Americans were presented as prisoners. Such issue between Anglo-Americans and Moroccans helped to generate numerous images of Moroccan barbarity towards Uk and American preyers. Since that time the Anglo-American myth about Moroccans as barbarians and savages grows but still manifests its personal in the videos they produce on Morocco nowadays.

So the storyline of Babel seems to recount again the story of Barbary wars when Moroccans were considered as pirates and bandits who assault any foreigner bypassing their place. On this film, the take action of taking pictures the American holiday does indeed show the everlasting North american disgust, be anxious and dread from Moroccans every time they are going round Moroccan lands. Although act of taking took place in the course of bagatelle game by immature and nave kids, the filmmaker appears to place the blame on the responsible, society and the complete culture that determine the activities and deeds of its inhabitants. This of course complements the stream of stereotypes promoted about Moroccans across Anglo-American cinematic features. The positioning of "the bad guys", who shot the American vacationer, on the top of mountains is similar to those places of vagabonds and pirates we find out about in experiences. Representing and tapering Moroccan geography and people into this simplistic image without displaying any fine feature of Moroccan mores will illustrate the movies message to develop and over-generalize Moroccan barbarism ever since the Barbary Wars. The film Babel was filmed in four different countries: China, USA, Mexico and Morocco; yet, the only real dangerous environment and characters happen to be Moroccans. In all other countries, anyone viewing the film can easily see some top features of development save for Moroccans who appear uncivilized and goat keepers in the mountains. This stereotype is plainly emphasized when the American sweetheart was hurt and could not find any hospital or means of transport to save her life. Fear is always prevalent in the film as though the film manufacturer informing the audience who wish to visit Morocco to improve their ideas since there is certainly nothing special to see unless they would like to lose their lives.

Historically speaking, Barbary Wars and a great many other American interests pressed Anglo-American decision producers to create public support for their deeds, especially through motion pictures. D. W. GRIFFITH's epic the Delivery of a land (1915) and Passing to India is one of many feature videos made with the assistance of their state including Casablanca, Morocco, Street to Morocco for political needs

In the post 9/11 world and London bombardment, where some Moroccans were found guilty and involved with "terrorist" works, Moroccans again are perceived as antagonistic to traditional western ideals and a danger to the western stability. In Babel, the film machine obviously shots this opinion to show that all Moroccans are from the Anglo-American presence in Morocco including visitors who are bulleted by a tiny Moroccan child in the mountains. In the film's scenes, CNN accounts and considers this event a terrorist harm. In this particular conjunction, Woll and Miller claim that the Arab image has "stalked the big screen as a metaphor for anti-western worth. The movie Arabs, and the tv set Arabs, have appeared as lustful, unlawful, and amazing villains or foils to western heroes and heroines" (Cultural and Racial Images in American Film and Television, 79).

Across the movies under study, Anglo-American cinematic productions seem highly obsessed by stereotypical images of Moroccans. Arabs and Africans on the whole and Moroccans specifically are cinematically made to possess a wide selection of loathsome characteristics: they might be backwards, crazy, cruel, blood thirsty, crude, sex-crazed, ridiculous, dishonest conniving or menacing. Every year and 10 years after decade, hundreds of movies have flooded the market with a large variety of unfavourable Arab and African depictions. In his book, Reel bad Arabs: How Hollywood Vilifies a People, Jack Shaheen has analyzed several thousand movies with major Arab designs and adjustments, about 40 which are about Morocco. In his latest reserve, just after 9/11, Guilty: Hollywood's Verdict on Arabs after 9/11, Shaheen has studied again several hundred videos about Arabs picturing them as responsible for what is happening now about the world.

Within these bundles of stereotypes, you can wonder about the real reason for all these biased descriptions. As a reply to such questions, many scholars like Churchill concur that "it seems necessary to alter realities to suppose the maintenance of empire" (Fantasies of the Master Contest, 38). Churchill continues on declaring that "mere conquest is never the course of empire in the success of mission can only be attained through the effective utilization of captured floor" (34). Within the same type of thought, Pieterse creates that "the legacy of several century of western development and hegemony, manifested in racism and exotism, continues to be recycled in american civilizations" (White on Black color: Images of Africa and Blacks in European Popular Culture, 9). Arriving at mediatic representations, we find that Brzezinki in Out of Control: Global Turmoil on the Eve of the 21st Century, Naylor in Cultural Variety in america, and Shohat and Stam in Unthinking Eurocentrism all concur that Hollywood theatre promotes Eurocentric representations in order to further an economical and politics propaganda. In today's time, which is characterized by terrorism, we see that the movie discourse of the First and the next World Wars repeats itself and continues to endorse and legitimize the imperial eyesight of the "white man's burden". Buschbaum asserts that "as soon as the First World Warfare, many western governments known the propaganda potential of film (Still left Political Filmmaking in the Western world: The Interwar Years, 26), in the Second World Conflict, in Ross's words, "the movie industry and its own key personal exempted from armed forces service" (Cinema and Class Conflict, 82). Other scholars like Martin, Hoberman and Shaheen declare that the best movies of the 1930's marketed colonialism, neo-colonialism and imperialism. These videos include Marta Hari, Shangai Express, Tarzan the Ape Man, Traveling Down to Rio, etc. During the 1950's, this imperialistic plan was furthered in movies such as those starring Ronald Reagan- Hong Kong, Tropic Zone, Prisoner of Warfare- all uphold the thought of the United States domination of the 3rd world countries and were often made with the federal government assistance.

Although these biased representations within the commercial movies have moderated somehow over years, we can say that the visual image of the other Arab and Moroccan in particular is still very poor. Jack Shaheen in his interesting documentary "Reel Bad Arabs: How Hollywood Vilifies a People" (YouToub Training video), explores that the 20th century witnessed a large variety of videos degrading and distorting the image of Arabs including Moroccans. Anglo-American film industry is currently theorizing and aiding wars through different moments that the audience seems to neglect. Due to this grave impact that such videos have on the targeted audiences, Hoberman finds it very necessary to assign these Eurocentric motion pictures a fresh genre called "war-nography" (Vulgar Modernism, 227). Many motion pictures unabashedly affirm traditional Anglo-American prices and companies and negate everything anti-western. Among these movies, we can discuss Kingdom of Heaven, Dark Hawk Down, True Lies, The Mummy, Raiders of the Lost Ark, The Stone Merchant, to mention but a few. In my own thesis, I am going to study and attempt to demonstrate that the motion pictures made about Morocco: Babel, Casablanca, Hideous Kinky, Five Fingers, The Road to Morocco, A Night in Casablanca, Legionnaire, The Man Who Knew an excessive amount of, The Sheltering Sky, Our Man in Marrakesh, Man of Violence, Unveiled, and some others fit within these category as well.

In Hideous Kinky, despite some short circumstances where fairness manifests itself, Moroccans are targeted for stereotypical representations within English videos. As Varsey succinctly areas: "the British influence in general, and its own impact in the region of colonial relations in particular, possessed far reaching implications for Hollywood's depiction of ethnic difference" (Foreign Parts: Hollywood's Global Circulation and the Representation of Ethnicity, 699). She concludes that Hollywood's representations of cultural and nationwide difference and the movies modulation of the stereotypes were enlightened not by the personal psychologies of specific production, but by the economical imperatives of global syndication.

Shome in Contest and Popular Theatre: the Rhetorical Strategies of Whiteness in metropolis of Joy, and Young in Fear of the dark: Race, Gender, and Sexuality in the Cinema have all figured racial representations within cinema exemplify the way the discursive productions of whiteness is often complicit in the tactics of neo-colonialism.

Religious representations are equally as stereotypical as other cultural portrayals within movies. Relating to Newcombe, film images of people associated with faith typically signify "widely shared level(s) of popular cultural expressions of spiritual attitudes that are safe natural, and often used for their immediate visual qualities" (Religious beliefs on Television set, 33). These spiritual representations also provide to support neo-colonialism since they "frequently ritualize the worth, values, " in Schultze's words, "and even the sensibilities of your people" (Television set Episode as Sacred Content material, 5). Moroccan religion or Islam generally speaking has been the victim of representations that pre-date the movies' dual purposes of spiritual loathe and monetary exploitation. Within this conjunction, Rose elaborates:

There are Muslims who are of different roots, while most, similar to Palestinians, are Arabs, the enthusiasts of Muhammed are located in elements of the world. You have the dominant faith in such non-Arab claims as Bosnia, Turkey, Iran, Pakistan, Malaysia, and Indonesia. (They and We: Racial and Ethnic Relations in the United States, 58)

However, in the motion pictures under review, the Moroccan Muslims tend to be depicted as dark Arabs and nomadic heathens because dark-colored becomes the colour of the devil and demons. While watching the movies, the majority of Moroccans stay cinematically either area of the movie backdrop or totally unseen. In addition to this stereotypical account, another representative feature that portrays Moroccans in the Anglo-American cinema is that they are doubly misrepresented as Arabs and Africans. Hoberman concurs that the misrepresentation of the Other generally speaking has achieved circumstances that "had surely blistered the coloring and the stainless- of the North american desire machine. Why should anyone want the reality? Distributed fantasies are what hold a people jointly" (Vulgar Modernism, 328).

Within this religious representation, Moroccans cannot get away the Hollywood machine through its videos about Morocco, mainly The Five Fingers, which depicted Morocco as a place of terrorist categories and "savage terrorists. " What makes this religious representation very perilous is the audience who take things shown through the motion picture for granted may be throughout their lives. In a report conducted by Schaefer, the American sociologist, about college children who watched D. W. Griffith's Birth of a Land, he found that "watching the movie made them more favourably willing towards blacks for five a few months when children were retested" (Racial and Cultural Groups, 80). So if university children could not forget the image of blacks shown in The Beginning of a Country, how men and women of world audience could forget the Moroccan image in Babel, Five Fingertips, Casablanca, etc. , particularly if we consider that most people take images as fact based. The audience gameness to trust whatever images they see in the films is clearly explained by Contreras in Practical Account for Living and Employed in Contexts of Variety:

Most folks are quite capable of forming ideas without satisfactory prior-knowledge, thus forming a prejudgement either for or against a group, idea, or person. For example, after studying the bombing of the national building in Oklahoma, just how many people immediately thought the explosion have been the work of Arab terrorists? (Cited in Naylor's Cultural Diversity in the United States, 330)

Similarly from what happened through the evens of Oklahoma, moviemakers have attempted to instil the thought of Arab terrorism in the imagination of the audience either through special results or real armed service victories. Balio, Barder, Bordwell and Thompson, Shohat and Stam and Hoberman all concur that the films have influenced virtually every individuals activity, from politics and warfare to intimate behaviour and dreaming. It is true that following the events of 9/11 for example, the films have turned Us citizens as Hoberman notes into "Bob Hoskins in Toontown, real people wandering around delirious mental landscaping of special effects, feel good fantasies, and militaristic spectacles (Vulgar Modernism, 334).

The contemporary approval and greeting of films feigning Morocco by Anglo-Americans is one of the evident instances that demonstrate the continuity of the orientalist discourse at higher periods of representation. Films as "a new discursive creation" seem to continue and return to the same images and stereotypes of olden travel narratives and guide books written on Morocco. While discussing continuity and repetition in discourse, Foucault argues that the looks of a fresh discursive formation does not always suggest the disappearance of the previous one. In Archeology of Knowledge, Foucault talks about this saying that

To say that one discursive development is substituted for another is not saying that a entire world of absolutely new things, enunciations, ideas, and theoretical selections emerges fully armed and fully structured in a content material that will place that world once and for all; it is to state that a basic transformation of relations has happened, but that it does not necessarily following the elements; it is to state that claims are governed by new rules of formation; it isn't to say that all objects or ideas, all enunciations or all theoretical alternatives disappear. On the other hand, one can, on the basis of these new guidelines, describe and review phenomena of continuity, go back, and repetition. ( 191).

Respecting Foucault's words, we can say that the change of representation from narratives to the theatre will really imply continuity, go back and repetition of the prior discursive formation. The rise of films as a fresh discursive formation does not lead to the demise or decline of discourse, but a continuity and an expansion of ethnical domination. This stresses that movie theater has proclaimed a continuity of a far more complex set of power relations between your "I" and the "other". The inability of filmmakers to create a new discursive representation definately not the earliest images makes them among the list of supporters of the misconception, which is seen as a uncertainty and fear from the "other" in general. Jack Shaheen, in his major film review literature 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 Theatre" and "Hollywood's Muslim Arabs, " has attempted to disclose the images attributed to Arabs, arguing that it is about time for the Anglo-American movie theater to improve its ideology that has long afflicted the Arab people. In an index of more than 900 movies in his first publication and over 100 post-9/11 movies in the second e book, Shaheen discloses and divulges nearly all the rampant ideological stereotypes of "Arabs". regrettably, after his splendidly decipherable chronological review, Shaheen's documentations and explications seem normal and lacks profound analysis as Tim Jon Semmerling's in influential reserve "Evil" Arabs in American Popular Film: Orientalist Fear, has obviously scrutinized:

"due to its cumulative characteristics, Shaheen's book will not reveal what it might about these motion pictures. In fact the publication overlooks important and unique "how" and "why" performances and strategies used in the construction of "evil" Arab personas in these films"(3).

Basing his focus on Jack Shaheen's "possible new ways of experiencing, " Semmerling investigates the way the Anglo-American feelings of insecurity remain the main likelihood of "why" they keep using "evil" Arabs for their entertainment. Overall, Semmerling's scrutiny of Anglo-American Orientalist dread makes this "evil" Arab as actually an illusion that uncovers more about that everlasting and haunting dread from Arabs than just misrepresenting them. This shows that the Arab stereotype will still persist to concern the Anglo-American national ideologies and misconceptions, which also foreshadows that research on this domains may never fall apart. By analogy, across movies representing Morocco, this doubt and fear made the filmmakers violate and break everything good in Moroccan culture.

Two of the most enthusiastically and excitedly entertained videos in this category, Babel and Five Fingers take part in inexorable representation of people, buildings, spaces, customs, etc. along the way of reinforcing a few 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 prepared to mug any passer by their country. Inarritu, Alejandro Gonzalez's film Babel offers obsessively with spectacular scenes across the film. Moroccan cruelty and pitiless is clearly stressed also in Malkin Lawrence's film Five Fingers as if Moroccans are merciless and callous people. It could seem to be to anyone seeing such films that Moroccans have little or nothing easier to do than killing and making others put up with.

To watch such videos one wouldn't get an inkling that Morocco is a nation of 40 million or even more people struggling with vital matters of identity, improvement and stepping forward. Still the directors' motives of the films are latent in their productions; there a wide range of who straight and willingly scorn and deride Moroccans in public areas spheres. Probably one of the most shocking illustrations or scenarios is that of the American director John Derick who possessed ridiculed the famous Moroccan film manufacturer Abdurahman Tazi. In his interview with the American anthropologist Kivin Dwyer, A. Tazi recounts that dreadful experience which demeaned his pride and Moroccan dignity while working with J. Derick to film Bolero (1984). Unconsciously, J. Derick expresses and voices his latent preconceptions he learnt from early on narratives and earlier videos once facing a difficulty in another of the photographs: "the particular hell am I doing here in this country [Morocco]? Why didn't I go to Israel, where people are usually more civilized, where people are less like-savages" (Beyond Casablanca, 44). Such discourse and many other abusive experience have been reiterated throughout Anglo-American feature videos portraying and fetishizing Moroccans.

This occurrence of J. Derick and A. Tazi's romantic relationship does point out the ambivalence of the Anglo-American film maker's discourse. Working together to taken a film will not mean they will be the same for J. Derick. Interrogating and disclosing such relation-ship between personal/ J. Derick and Other/ A. Tazi within discourse, Bhabha uses the term "ambivalence" to criticize such binary opposition, which gives us with a disagreement that recognizes the other as different. One of these is given local goal and a good value, while the other is characterized as the lack of the positive traits of the first (I). The other is thus rejected; he is only a negation of the I / do it yourself. However, this binary opposition is violated when the white man exposes the inferiority of the local and explains him to be perfectly recognizable. Certainly, this inclination to appropriate and make the local recognizable is just to contain his danger and retain control over him. The example of J. Derick identification of an. Tazi demonstrates the indigenous/ A. Tazi would resemble and duplicate the white man/ J. Derick, but without really erasing the traces of his difference completely. He's doomed to stay, in Bhabha's word, "almost the same, but not quite. "(THE POSITIONING of Culture, 86).

With Bhabha personal and other are attracted into a Lacanian mirror-image, where in fact the other becomes a confirmation of the white man's image of "superiority". A long with this type of thought, from the psycho-analysis point of view, it is clear that "the illusory self-production (of the I ) is a denial of rationality, complexity and reliance on the other. "(Colonial Fantasies, 7-8). We are able to say that true recognition is achieved only from one part, whereas the other is excluded. With this view, Hegel asserts in his Phenomenology of Mind that "Self-consciousness alone as well as for itself, in that and by the fact it is available for another self-consciousness; in other words, it is only by being acknowledged or recognizable. "(cited in Black color Pores and skin, White Masks, 216)

From this passing, we see that the get good at for Hegel differs fundamentally from the get good at/ J. Derick we have been dealing with. For Hegel, there's a reciprocity between your expert and the employee ; on the contrary, our get good at J. Derick "laughs at the awareness" of an. Tazi. What he would like from him is not identification but work; reputation between your two seems impossible. This step from one side only would be ineffective, in Hegel's words, because what's to happen can only just be as a result of means of both. When this happens, they would discover themselves as mutually knowing one another. Unlikely, our master will never be able to recognize the local as a full-fledged human being. The energy of representation will never allow the get better at to identify or say to the staff as Frantz anon says "to any extent further you are free" (Dark Pores and skin, White Masks, 220). The situation of J. Derick and A. TAzi is merely one of these among many Anglo-American shootings on Morocco ranging from Morocco, Highway to Morocco, Casablanca through Babel, Five Fingertips to say but a few.

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