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International Relations Reflected Through the Camera Lens the West's Representation of the Third World

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International Relations Reflected Through the Camera Lens the West's Representation of the Third World City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 International Relations Reflected Through the Camera Lens The West's representation of the Third World. Jihan Joseph CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/199 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] !!! "#$%&#'$()#'*!+%*'$()#,! +%-*%.$%/!01&)231!$1%! 4'5%&'!6%#,! 01%!7%,$8,!&%9&%,%#$'$()#!)-!$1%!01(&/!7)&*/:! ! !"#$%&'(#)#$*+,-&# # ;!0<=>">!>?@A"00=B!CD+!E;+0";6!C?6C"66A=F0!DC!0<=!+=G?"+=A=F0>!DC!0<=!B=H+==!"F! A;>0=+>!DC!;+0!"F!"F0=+F;0"DF;6!+=6;0"DF>:! "#$%&'%(!)*+)! ,-.(!,/00#1#!! ! ! "'2&0.(!345-6/%!7%/8#66/%!9'2:&#0-;#!<%'5#$/(=>'1;#%! Abstract In the pursuit of studying international relations often the subject of culture is left out of the conversation. This thesis focuses on the unlikely subject of film to discuss the importance of culture in international relations. It analyzes at Western film’s portrayal of the developing world and explores the connection of film and international relations. Table of Contents Chapter 1: Introduction ..................................................................................................................1 Chapter 2: Research Design ............................................................................................................5 Definitions .............................................................................................................................….5 Literature Review ..........................................................................................................…….10 Looking Forward…………………………………………………………………….....17 Chapter 3: Africa………………………………………………………………………………………..…20 African Queen……………………………………………………………………………..23 Zulu……………………………………………………………………………………..29 The Last King of Scotland………………………………………………………………34 Conclusion………………………………………………………………………..…37 Chapter 4: The Middle East………………………………………………………………………………39 Casablanca……………………………………………………………………………….....41 The Battle of Algiers…………………………………………..………………………………….45 Syriana…………………………………………………………………..……………………..…53 Conclusion…………………………………………………………………………….59 Chapter 5: Asia…………………………………………………………………………………………….60 Anna and the King of Siam……………………………………………………………….…….61 Apocalypse Now………………………………………………………………..………….67 Slumdog Millionaire ………….…………………………………………...…………71 Conclusion…………………………………………………………………………78 Chapter 6: Latin America………………………………………………………………………..……….80 The Treasure of Sierra Madre………………………………………………………………..…….82 Salvador…………………………………………………………………...……………86 Colombiana ……………………………………………………………...……………92 Conclusion………………………………………………………………..…………98 Chapter 7: Conclusion………………………………………………………..…..…………….100 Work Cited…………………………………………………………………………………………..…….106 Chapter 1: Introduction Western films are recognized worldwide grossing billions of dollars through box office, DVD, and brand sales and producing superstars. With the popularity of western films we can safely say that the message of directors, producers and screenplay writers is being transmitted to millions of viewers in the West and worldwide. Films can be powerful conveyors of information, introducing the audience to events, situations, areas of the world, and events which do not have a direct effect on their daily life and are hard for them to imagine. Films have the potential to broaden our world view. They have the power to create “understandings of particular events, national identities and relations to others.”1 They give us a sense of who “we” are as well as who the rest of the world or “them” is. The developing world is often depicted in western films; however, on many occasions the landscape and the people who live in it, become a mere backdrop for the main story that unfolds on the screen. The Indiana Jones series is an example of the western protagonist as the focus of the film while the developing world is just the environment in which he is navigating to get to his goal. Other films focus on events and individuals in the developing world, for example The Last King of Scotland, which is about former Ugandan president Idi Amin. Yet other films about the developing world open up discussions of controversies that need to be addressed such as Blood Diamonds. The images that filmmakers choose to show and those that filmmakers choose not to show can also convey other underlying meanings. Early twentieth century films included pervasive stereotypes of people in the developing world. These films gave us an insight into what the western world thought about the developing world. For example, during World War II the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! +!!?@!A/446B!CD/00(E//4!';4!.F#!7/G&0'%!H#/G/0-.-26!/8!.F#!>'%6!/;!I#%%/%BJ!!"#$%&'($)%&*+,$-.$)/0&)KLM!N)**MOB!G@! +P)+@!! I(1'#!I),%91! E'3%!J! ! Japanese were seen as a threat to the West and were depicted negatively, while the people of China were seen being abused by the Japanese. The mystery series Charlie Chan was created during in 1936 and depicts a non-threatening Chinese character. The character possessed “Asian wisdom.”2 China was seen as an ally of the West which led to positive stereotypes being created which was in opposition to other Asian stereotypes like “the yellow peril.” Traditionally, international relations rarely focused on the importance of cultural elements in answering questions about state interaction. The dominant framework, realism, highlights the systemic level where states operate in a condition of anarchy that promotes self- help. There is no need to look “inside the box” when all states are seen as similar units operating similarly with given knowledge. Furthermore, realists pay only limited attention to nations outside of Europe, the United States and Canada because there is a focus on power. The topic I will be exploring is the depictions of the developing world in western popular films. Are there particular images intended to depict the people of a particular region and if so what are they? Have these images changed over time? In addition, I wish to investigate the historical accuracy of the films and how they depict the relations of the region with “the West.” I hypothesize that there are indeed particular images and stereotypes in films that change over time. These images reflect, positively or negatively, relations that the regions or countries have at the time with the western states. The historical details tend to be skewed to reflect what these relations are. Of course, the West is not the only place where films are made. There is Nollywood, Bollywood, and a host of other film industries and independent filmmakers around the world. However, Western films are the most widely consumed by the entire world because the industry is better funded , and equipped with bigger studios with the power and the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! )!D@!QF'FB!CR36-';!,&0.&%#R!';4!36-';!3S#%-2';!T4#;.-.-#6!-;!.F#!I#0#5-6-/;!';4!"-0S!T;4&6.%-#6!/8!.F#!U;-.#4!Q.'.#6BJ! 1-+%#.2&#3&4.%#,&5&#36($7,-#(3&8#-.$,9/&:%+9,-#(30&VLV!N3&1&6.!)**VOB!G@!W@&& I(1'#!I),%91! E'3%!K! ! manpower to advertise films to wider audiences and place films in more cinemas worldwide, This means that the images that dominate tend to be western. In conclusion, this thesis will look “inside the box” to help us understand how policy is reflected through cultural expressions of a state. We can gain an understanding of international relations by not only looking at the system or even at domestic politics but at the culture of states as well. This thesis will help broaden the study of culture and identity in international relations. Films have an international appeal. They give us an insight into what “we” think about the rest of the world. Images in film are reflections of the cultures that produce them. When we look at films we are able to critique how “we” constitute “the other,” our views of the other and who “they” are. For instance, is Africa truly the “dark continent” still wild and untamed? Or have we moved on from that image? Is the Middle East full of terrorists who pose a grave threat to the United States? Is that why we are still fighting a war in Afghanistan? Film cannot answer questions about what policies have or have not been implemented in the developing world. However, it has the ability to help us understand the types of images created by the western world and can help us then look at international relations in a broad sense to compare and contrast what issues are important in the West and what issues are pushed to the background of international discussion. This work aims to help us understand that what “we” or the West believe about “them” or the developing world does affect foreign policy in the Western world. In order for there to truly be an “international community” or a community of people who are all viewed as equal members of the same planet we must first uncover the biases that exist within our cultures that continue to create tension in international relations. I(1'#!I),%91! E'3%!L! ! The next chapter will focus on defining terms such as “the West” and “developing world.” I will also look at the written work of scholars in international relations, as well as anthropology and films that speak about “otherness” and the creation of “otherness.” I will also discuss
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