Introduction

Projection of imagery in Hollywood has gained mastery over the art. Development in the field of movie-making however did not transform the conventional views that Hollywood people have of the world. Certain conventional conception is still retained in Hollywood type of cinematography for specific culture so as to "appeal" to the public. For example black men are violent, Arabs are lawless, Chinese are self sacrificial, Vietnamese association with the Communist regime etc. The film makers have preconceived notions of issues and subjects. These are reflected in the movies they make that greatly influence the audience's views and perception of the same. The subject of the orient for example has had similar exposure to Hollywood. The stereotype attitudes and perception of Orient stem from travelogues, oral literature and painters from the West who have had first hand experience of the 1800s way of life. Ever since, the Orients have been dubbed as the backward, lawless and gender subjugation group of individuals who oppose Western culture. In Disney's animated movie Aladdin (1992) and Cecil DeMille's Cleopatra (1934) too one witness that though the movies have six decades between the viewpoints remain similar and never changing. The researcher is of the opinion that Hollywood's Orientalism stem from these preconceived ideas of ancient Arabian culture. Combined with the Hollywood's conventions of "appealing" the masses, they have been a great source for influencing the audience's perception of the kind of culture Arabs have.

Discussion

Orientalism

Understanding a foreign culture is not an easy task and many European during the 1800s realized. To appease their curiosity of the far and away, many travelers attempt to mingle and experience the foreign lives. Asia especially has always held a mystique for these individuals as they learn from earlier travelers of the romantic, exotic and adventurous escapades like Frederick Church, Bayard Taylor and William Sartain (Kamal El-Din 2004). From their times a century ago, these travelers have carried back with them their own views and perception of the Orient as a "place of romance, exotic beings, haunting memories and landscapes, remarkable experiences" (Said 1979). Nevertheless, they did "open the doors" to the Arab world especially with much differentiating views. Ever since their views have been integrated in the Western masses and the introduction of the Orient in the American society emerged as a reminiscent of old Protestant values and cultures. The portrayal of the Orient in Hollywood especially from the early 20th century for example have always comprise of predictive nostalgia expressed in the form of visual art.

Edward Said, perhaps the first to exorcise these misconceived notions who points out that the concept of Orientalism has been the result of Western innovation. He is of the opinion that "the Orient was almost a European invention, and had been since antiquity..." (Said 1979). For this reason most of the West's knowledge of the Orient has remained bound in the conception of Orientalism with set polarities and characteristics such as exoticism, despoticism, lawlessness, eroticism etc. These cultures are against the Christian morals which all the more mystify and at the same time alleviate the position of the Western society against the Orient. In the following sections the researcher attempt to present an argument in which the researcher argues that Western conception of culture, society and economy greatly differ from the Arabs but it does not actually predict that their way of life is "wrong" and lawless. Similarly, the researcher attempt to show that Hollywood’s own conventions in showing the Arab stereotypes of the ancient culture is discriminatory and confuses different cultures of the Middle East into one.

Synopsis

Aladdin is the story of an orphan living on the street of Agrabah and survives by stealing breads from people. One day he meets Princess Jasmine who is on a hideout from her father as she does not want to marry one of the princes he has been showing her. Jasmine and Aladdin falls in love as they go about their adventures and escapes from the guards and evil vizier Jaffar. Jaffar in the meanwhile designate Aladdin to fetch a valuable lamp from the Cave of Wonders. Accidentally Aladdin discovers Genie who helps him in his fight against Jaffar's evil plans. In the end the princess and Aladdin rides on the magic carpet into the starlit night sky.

Cleopatra is the story of the famous Queen of Egypt who would use every tactics and strategy to retain her throne. When emperor of Rome Julius Caesar attacks Egypt Cleopatra manage to seduce him and marry him. However, when he is assassinated, Marc Anthony takes his place and Cleopatra is once again threatened in her position. She devises plans to seduce him to forge forces with Rome once again. In the end when Octavian Caesar's son claims Rome, he also takes over Egypt. Cleopatra commits suicide in her throne.

Orientalism in Aladdin and Cleopatra

In both the movies the directors have used elaborate background to depict the luxurious living of the Arabs. In Cleopatra to depict the rich Egypt state, the director had setup elaborate sets and costumes that attempt to come close to "reality" of the ancient time as possible. Even Aladdin's cartoonish palace is not empty of the Persian carpets, silk throne and the like. However, within the confines of the richness of the orient society people are unhappy or so the directors seem to portray. Princess Jasmine is bound by her duty and law to marry a prince. In a scene in which she has an argument with her father regarding her marriage she is told that "you're not free to make your own choices." Although she considers the law "dumb" but nevertheless she has to follow it. There is no escape from it. Aladdin too is oppressed by the Sharia or Quranic laws of the Moslems that have strict laws against crime such as cutting of the hands for stealing.

In Cleopatra too the Queen's destiny is tied to the conqueror of the land. The "law" mandates that a female cannot rule. Instead she must follow the lead of the King as she is weak in her character. In a scene after Julius Caesar's death, Cleopatra attempts to seduce Marc Anthony is portrayed so:

" Antony: Well, uh, shall we go now?

Cleopatra: (submissively) Yes, we'll go. My wits have failed and I'm in your hands." (Cleopatra 1934 from Dirks 2004)

This very convention of submissiveness of the female is inherent in the Hollywood's view of the female role in society as a submissive entity to follow the lead of the male. It is clear that this kind of submissiveness is not solely the Arab culture but in the West as well.

Similarly, the portrayal of the harem in Cleopatra is a result of Hollywood's mystification of Arab life. Women are scantily dressed, dancing girls exude sexuality; their role in the kingdom is to serve the sexual purpose of the male need only. For this reason DeMille's Cleopatra is also dressed in a manner that reveals her sexuality and creates an image of exotic beings that differ from the Western woman. Surprisingly though the movie Cleopatra made in 1934 depict the Queen as a sexual object. In the newer version of Aladdin too Jasmine wears the silk pajamas and short top to reveal her own sexuality in the same manner, confirming the researcher's opinion that Hollywood has in fact stigmatized the Orientals in their specific roles and perception so that the role of the woman is captured in the time.

Author Christopher Wise (2003) is of the opinion that "In Disney's Aladdin, what prevents the "whole new world" from coming into being is, quite simply, "that stupid old law," in the words of Princess Jasmine." Wise depict the Western perception of Middle Eastern law as "wrong" not only making the audience feel that as opposed to Western law, Eastern laws are oppressive and harsh towards its subject. Aladdin for example bears the risk of getting his hands cut while Jasmine has to marry a prince in order to satisfy the ruler. In Cleopatra too the queen commits suicide less she is punished and subjugated by the law. Not only this, but Hollywood tend to perceive that the subjects of the Middle Eastern kingdoms feel oppressed by the ancient law but they cannot alter it. For example Jasmine finds not having her own choice oppressive and degrading while Cleopatra finds alternative to her survival by seducing the Kings.

Conclusion

From the above discussion it is clear that Hollywood's perception of the Oriental culture especially Middle Eastern culture is a mixture of both East and West. By portraying century old cultures in the movies Hollywood greatly influence Western audience perception. Yet it must be noted that though each of the country in the Middle East have distinctive cultures and ways of life, nevertheless Hollywood tend to emit pictures that predict the social oppression, subjugation of the female and laws that people have to bear. Hence, it could be concluded that Hollywood's earlier influences of the 1800s have largely contributed to the modern Oriental views in the West which continue to be portrayed in Western movies.