Orientalism In American Cinema

7 Pages 1870 Words

“Orientalism in American Cinema”
A Review of Film Trends Influenced by Cross-Cultural
Encounters Between America and the Far East


There was a time when cross-cultural understanding was largely a matter of expertise. Study and comprehension of non-Western cultures, including the “Orient” was consigned to an array of area specialists ranging from philologians to historians and cultural anthropologists. Armed with the arsenal of Western philosophical and scientific categories, area studies pursued a somewhat predatory aim, that of incorporating or assimilating non-Western life-forms into pre-established frames of reference (unless they were relegated to a mysterious otherness beyond the pale of knowledge).[Dallmayar, p. 115]

There is a common phrase proudly stated in the United States: Only in America. Only in American, we can mix this with that. Only in America, we can be ruled by the rational but rule our own ideals. Only in America, we can allow all to worship freely while have our government separate from religion. Yes, there are many things that can truly happen “only in America.” And so, it would come to pass that both options presented in that paragraph by Fred Dallmayar would co-exist... in America. What establishment allowed for us to incorporate these non-Western cultures into some pre-established frame of reference while also placing them in a mysterious otherness beyond the pale of knowledge? The answer lies in America’s silver screen.

For years now, America has used film to both define society and attempt to explain elements in society we do not understand. With this dual-purpose, it is only correct that we try to do the same with East Asian culture and its many mysteries. From what we call “odd mannuerisms” and “quirky” traditions” to their honor systems and fuedal codes, American fascination, intrigue and evaluation of the Orient has found its home on perhaps what would be, ...