I had never really thought much of it before and now I do, I feel a small tinge of guilt for taking pleasure in these inventions "domesticated for Western use." However, I still stand by I would not want my mind to be denied of orientalism for its magnificence makes it so charming. At the time Said was writing (1978), these frustrations would be far more accute. I can empathise the frustration how stereotypes of erotic belly dancers and land of bizarre inventions must get tiresome. Whilst the Occident progresses it does not, it is static and orientalism is an example of this. The delight we experience is all very well, yet Said's distress is how Orientalism is stuck in a time warp. As viewers we share Aladdin's overwhelment in his exploration of it. Equally this cave is filled with mountains of gold to match Mount Everest and home to the genie and the magic carpet. In Aladdin a larger-than-life cave bursts forth from the sand, in the form of a roaring tiger's head which freezes with its jaggered jaws left wide open for the entrance. Orientalism in art goes hand in hand with the sublime. Equally, I feel my childhood would have been so much less fruitful and arguably my imagination less wild, had it not been opened up by Arabian Night talking books. English rose princesses locked up in towers from dragons, they seem mundane in comparision. Why both of those? They pleasure the imagination and defy our norms. Aladdin must be my favourite disney film (alongside the Emperor's New Groove). no bricks or tiles or thatched roofs.) Our imagination is streched to encompass these alien settings. The orange and red tinge of the setting sun splashed on all the sand coloured buildings with voluptuous domes for roofs (n.b. It is bustling with supernatural elements and even the more ordinary scenes, such as Aladdin as a market thief, are still tantalising by their oriental setting. I watched it last night for the first time since my childhood. What is so timeless about these images that pertain to the mytical realm?"The fabric as thick a discourse as Orientalism has suvived and functioned in Western Society because of its richness."Ī prime example is the disney film Aladdin. Texts such as "Arabian Nights" and "Vathek" embody such ideas. The East was a setting of "traditional exoticism." Magic sultans promiscous women a genie in a lamp magic carpets all seemed fitting for this enigmatic rich land of wonders.
For the Eastern spice trade, their religious belifs, sects and fashion were very different from the Occident. That which was unknown all aesthetic, alluring, exquisite and exotic. This heightened the curiousity of "the mysterious". B ut this does not answer- what precisely is "orientalism"? Said argues it is a term understood by the Occident, it is "an integral part of European material civilisation and culture." Said goes on to affirm that it is "almost a European invention.a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences." How if Orientalism is not the Orient's own invention did it come to be so widely recognised and (arguably) comprehended by many? At the time Orientalism came to light, imperial Britain was expanding. Melancholy yet beautiful, their short and sweet romance is unforgettable.Ĭurrently I am studying "Orientalism", aided by Edward Said's book. Why are we drawn like an magnet to all Orientalism encompasses? Undoubtedly its grandeur. Despite the end of Marilyn and Clark’s relationship being inevitable, this drama is devoid of any cliques. Marilyn’s tantrums and tears remind us sadly that they are two worlds apart. The first kiss is exhilarating as their suppressed emotions come to the surface. The drawn out delay before their romance blossoms leaves the viewer in constant anticipation. We can completely empathise with him his stuttering in his first encounters with Marilyn his sincere affection towards this fragile star and the astonishment at being singled out by your pin-up. His own charm leaves audiences in as much awe as Marilyn. Equally, infatuated Eddie Redmayne who plays Colin Clark, the film set worker Munroe has an affair with. This is drama of the highest quality, Kenneth Branagh and Judi Dench help to ensure this. The Marilyn portrayed in the film is not the sassy and extrovert Hollywood sweetheart but Norma Baker, stripped of her persona and ridden with insecurities. Like the scarlet, she magnetises us with her voice and expressions. Michelle Williams gives an incredible performance as Ms.
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