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Downloaded from Brill.Com09/26/2021 08:32:43AM Via Free Access MANUSYA: Journal of Humanities Regular 20.1, 2017 REINVENTING THE ‘NATIVE ตะวันตกถูกจัดวางใหมีตําแหนงทางวัฒนธรรมและ OTHER’ IN EARLY ศีลธรรมที่สูงสงกวา การเปลี่ยนจากเรื่องเลาแบบตัว HOLLYWOOD: บทสูเรื่องเลาแบบภาพไมไดถอดรื้อการเมืองเรื่องการ THE MOROCCAN WOMAN นําเสนอวัฒนธรรมที่ซอนเรนไวซึ่งอคติแบบบูรพคดี BETWEEN NATIVE RESISTANCE AND ORIENTALIST EPISTEME นิยมหรือจักรวรรดินิยมมากนัก ในชวงเวลาระหวางป IN ROBERT FLOREY’S OUTPOST 1930 กับป 1956 จะเห็นการผลิตภาพเรื่องราวประเทศ IN MOROCCO (1949) 1 โมร็อกโกเปนจํานวนมาก ซึ่งประกอบกันเปนคลัง และเปนเรื่องราวเกี่ยวกับภาพโลกตะวันออกจาก 2 Hassane Oudadene สายตาของฮอลลีวูดดวยเชนกัน บทความนี้มุงสํารวจ และตรวจสอบการตอรองอันทรงพลวัตและ บทคัดยอ ปฏิสัมพันธที่สลับกันไดระหวางเพศสถานะ กิจการ อาณานิคม และอุดมการณแหงบูรพคดีนิยมใน การเชื่อมโยงระหวางภาพยนตรอเมริกันกับประเทศ ภาพยนตรเรื่อง Outpost in Morocco (1949) โดยรอ โมร็อกโกเริ่มขึ้นในชวงตนของคริสตศตวรรษที่ 20 เบิรต ฟลอรีย ซึ่งนับเปนภาพยนตรในยุคแรกของฮอล เมื่อแอฟริกาเหนืออยูในความสนใจของทั้งทวีปยุโรป ลีวูด ฉากที่เกี่ยวของจากภาพยนตรเรื่องนี้แสดงใหเห็น และทวีปอเมริกา นักเขียนวรรณกรรมการเดินทาง วาประเทศโมร็อกโกและตัวละครชาวโมร็อกโกถูก ชาวตะวันตกมักยืมขนบการเลาเรื่องที่เนนความ กํากับอยูในการนําเสนอตัวละครตามแบบฉบับ มหัศจรรยและสภาพเหนือจริงมาสรางเรื่องราว อเมริกันอยางไร บทความนี้จึงมุงวิเคราะห รื้อสราง เกี่ยวกับ "ดินแดนอีกดานหน่งึ " ของโลก โดยที่ และยกตัวอยางวิธีและกลยุทธการนําเสนอภาพทาง วัฒนธรรมของผูหญิงโมร็อกโก (แบบผิดๆ) ของ 1 การประกอบสราง "คนพื้นถิ่นที่เปนอื่น" ใหมในภาพยนตรฮอลลีวูด ฮอลลีวูด แมวาภาพเหมารวมตางๆ จะถูกพัฒนาขึ้น ชวงแรก: หญิงโมร็อกโกระหวางการตานทานของคนพื้นถิ่นกับกรอบการ จากภายในองคกรสรางภาพที่ใหญที่สุดของ มองแบบบูรพคดีในภาพยนตรเรื่อง Outpost in Morocco (1949) โดย รอเบิรต ฟลอรีย สหรัฐอเมริกา แตภาพยนตรยังคงเปนพื้นที่ที่นําเสนอ 2 (ฮัสเซน อูดาดีน) Ph.D researcher in the Moroccan การรื้อสรางและการกอบกูอํานาจของคนพื้นถิ่นและ Cultural Studies Center at Sidi Mohamed Ben Abdullah University, Fez- Morocco. He ขอบเขตความสามารถในการตอตานของคนพื้นถิ่น graduated with an MA degree in Cultural Studies from the same university. He is also a State อยางแทจริง งานศึกษานี้จึงขอเสนอ "สัญญะแหงการ Department Program Alumnus from UIC at ตอตานทางภาพ" ที่ซึ่งกลองถูกพลิกกลับเพื่อมอบ Chicago. His major fields of interest include early film studies, postcolonial and gender ตําแหนงแหงอภิสิทธิ์และอํานาจใหกับหญิงโมร็อกโก studies. Downloaded from Brill.com09/26/2021 08:32:43AM via free access MANUSYA: Journal of Humanities Regular 20.1, 2017 Abstract Introduction The link between the American cinema and The link between the American cinema and Morocco was established during the early Morocco was established during the early twentieth century when North Africa became twentieth century when North Africa a central concern of both Europe and became a central concern of both Europe America. Western travel writers drew on and America. Western travel writers drew on generic conventions centered on wonder and generic conventions centered on wonder and the fantastic to fashion stories about the fantastic to fashion stories about the ‘other ‘other side’ of the world in which the West side’ of the world in which the West was was positioned as morally and culturally positioned as morally and culturally superior superior to the East. The shift from textual to the East. The shift from textual to visual to visual narratives did little to dismantle the narratives did little to dismantle the imperialistic and Orientalist politics of imperialistic and Orientalist politics of cultural representation. The period between cultural representation. The period between 1930 and 1956 witnessed considerable 1930 and 1956 witnessed considerable visual production on Morocco, which visual production on Morocco, which constituted not only a fertile haven but also constituted not only a fertile haven but also a a little story of Hollywood’s Orient. This little story of Hollywood’s Orient. The aim paper explores and examines the dynamic of Hollywood’s colonialist films was to negotiation and the interchangeable insert a Western presence into lands interplay of gender, colonialist enterprise occupied by people seen as ethnic others. and Orientalist ideology in one of The presence of the French legion in North Hollywood’s early films: Robert Florey’s Africa, and particularly in Morocco, played Outpost in Morocco (1949). Relevant scenes a major role in shaping Hollywood’s interest from this movie display how Morocco and in the region. Many other political realities Moroccan subjects were subjected to a also came into play. America’s interest and distinctively American characterization. The involvement in North Africa, particularly in paper proposes to analyze, deconstruct and Tunisia, Algeria, and Morocco, was illustrate some of Hollywood’s poetics and rationalized by the imperative of militaristic strategies in the cultural (mis)representation intervention during World War II. In the of Moroccan women. Although a number of process, Morocco was subjected to a stereotypical clichés have been developed distinctively American characterization. As from within America’s biggest image- the U.S. troops landed there General George making machine, the screen still offers valid S. Patten wrote, “Casablanca is a city which ground for the (re)construction and retrieval combines Hollywood and the Bible”3 (10). of a native agency and genuine scope for native resistance. The study offers, in practical terms, a few ‘signs of spectacular 3 See also Brian Edwards’ Morocco Bound: resistance,’ whereby the camera is reversed Disorienting America’s Maghreb, from to position the Moroccan woman in Casablanca to the Marrakech Express, sequences of privilege and power. particularly the chapter entitled “American Orientalism: Taking Casablanca,” pp. 29-77. 2 Downloaded from Brill.com09/26/2021 08:32:43AM via free access Reinventing the ‘Native Other’ In Patton’s eyes Casablanca presented itself analysis display how Morocco and as the perfect site for Orientalist fantasies Moroccan subjects were subjected to a that could entertain the American audience stereotypical characterization. The choice of during wartime. Hollywood movies that deal this particular visual text is rationalized by with Morocco have usually emphasized the the featuring extent and by its significant way in which Western subjects are made to pertinence to my argument premised on the appear superior while Moroccans are fact that the Moroccan female protagonists, subjected to demeaning stereotypes. Early in early American films, turn to occupy the American productions such as Morocco focus of the plot by trespassing on the lines (1930), Casablanca (1942), Road to of subjugation. No matter how the Morocco (1942), and The Desert Song Orientalist ideology strives to malignantly (1953), to mention but a few, are replete cast aspersions on native subjectivity, the with scenes of stereotypical representation. Moroccan female character Cara (Marie This paper explores and examines the Windsor) promisingly displays impressive dynamic negotiation of the colonialist signals of reaction and counterbalance. I can enterprise, Orientalist ideology and safely argue that the native protagonist strategies of native resistance in Robert somehow manages to break up the Florey’s Outpost in Morocco (1939). The systematic unity of the stereotyping patterns director is a significant French-American of the film. It is impressive that the screen film expressionist whose filmic production offers a valid ground and genuine scope for heyday was from 1930s to 1940s. Many of the (re)construction and retrieval of a native his films in the United States were agency. This article aims to uncover, in influenced by the European filmmaking practical terms, a few “signs of spectacular Avant-garde expressionist style because he resistance,”5 whereby the camera is reversed had worked as an assistant director in to position the Moroccan woman in Europe. His first ‘experimental’ movie The sequences of privilege and power. Life and the Death of 9413: a Hollywood Extra (1928), displayed, according to Martin Orientalist Episteme and Poetics of A. Gardner 40), how his cinematic style was the Camera inspired by the expressionism of the German 4 film school. Florey was also an assistant Being bound to the context of early film, the director to Josef Von Sternberg, whose film world condition of World Wars I and II Morocco was released in 1930. This may justifies the notion of escapism as an outlet justify his interest in making Outpost in for a burdened Western audience to be Morocco in 1949. palliated, while the desire for capitalism, on the other hand, rationalizes the concepts of Relevant sequences from the film under 5 This expression is borrowed from the title of 4 Martin A. Gardner, The Marx Brothers as one of professor Bekkaoui’s books: Signs of Social Critics: Satire and Comic Nihilism in Spectacular Resistance: The Spanish Moor and Their Films (North Carolina: McFarland and British Orientalism 1998, which also inspired a Company, Inc. Publishers, 2009), p. 40. great deal of this article. 303 Downloaded from Brill.com09/26/2021 08:32:43AM via free access MANUSYA: Journal of Humanities Regular 20.1, 2017 profitability and propaganda. Indeed, these images and platitudes were generated. ideological dimensions draw a symmetrical Almost all Western films, including association between Hollywood’s vision and Hollywood’s, are, Jack Shaheen asserts, its politics of implementation. It is fraught with “live images on big screens that impossible to ignore how Hollywood go beyond a thousand words in perpetuating succeeded in constructing a discrepancy stereotypes and
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