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Ancient Egyptian Religion on the Silver Screen: Modern Anxieties About Race, Ethnicity, and Religion Caroline T University of the Pacific Scholarly Commons College of the Pacific aF culty Articles All Faculty Scholarship 10-1-2003 Ancient Egyptian Religion on the Silver Screen: Modern Anxieties about Race, Ethnicity, and Religion Caroline T. Schroeder Cornell University, [email protected] Follow this and additional works at: https://scholarlycommons.pacific.edu/cop-facarticles Part of the History of Religion Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Schroeder, Caroline T. (2016) "Ancient Egyptian Religion on the Silver Screen: Modern Anxieties about Race, Ethnicity, and Religion," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 1. Available at: http://digitalcommons.unomaha.edu/jrf/vol7/iss2/1 This Article is brought to you for free and open access by the All Faculty Scholarship at Scholarly Commons. It has been accepted for inclusion in College of the Pacific aF culty Articles by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. Journal of Religion & Film Volume 7 Article 1 Issue 2 October 2003 12-14-2016 Ancient Egyptian Religion on the Silver Screen: Modern Anxieties about Race, Ethnicity, and Religion Caroline T. Schroeder Ithaca College, [email protected] Recommended Citation Schroeder, Caroline T. (2016) "Ancient Egyptian Religion on the Silver Screen: Modern Anxieties about Race, Ethnicity, and Religion," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 1. Available at: http://digitalcommons.unomaha.edu/jrf/vol7/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Ancient Egyptian Religion on the Silver Screen: Modern Anxieties about Race, Ethnicity, and Religion Abstract This essay examines the depiction of religion, race, and ethnicity in four films: The Mummy, Stargate, The Ten Commandments, and Prince of Egypt. Each film - explicitly or implicitly, deliberately or not - uses ancient Egyptian religion as a foil to dramatize American concerns about race and ethnicity. The foil is the mysterious, and often false, religiosity of an often Orientalized religious and ethnic "other." This article is available in Journal of Religion & Film: http://digitalcommons.unomaha.edu/jrf/vol7/iss2/1 Schroeder: Ancient Egyptian Religion on the Silver Screen In the 1932 classic The Mummy, we first meet the heroine Helen Grosvenor twenty minutes into the movie as she sits on the balcony of the famous Shepheard's hotel in Cairo. Gazing out at the great pyramids, she sighs, "The real Egypt." Then the camera cuts to an urban skyline dominated by the domes and minarets of mosques, and she mutters, "Are we really in this dreadful modern Cairo?"1 In this brief yet revealing scene, Helen's character, her dialogue, and the film's cinematography work together to present a contentious theme that reverberates throughout this film and others about ancient Egypt: the intersection of religion, race, and ethnicity in the "Western" view of the "Orient." In this scene, dirty, modern, Islamic Egypt is contrasted to the classical civilization of old. But as the story progresses, the boundaries between primitive modernity and classical antiquity become blurred; the frightening superstitions of the ancient polytheists literally come to life and walk the streets of modern Cairo, enchanting anyone whose veins course with Egyptian blood. As the story is told, the ancient Egypt for which Helen longs is seductive yet dangerous. While it leads Helen and her British associates to great archaeological discoveries, it also draws them into the primitive and vengeful desires of the ancients and their superstitions. As differences between Islamic urban Cairo and superstitious ancient Egypt collapse, the film draws increasingly firm boundaries between East and West, science and religion, whiteness and non-whiteness. Helen's personal struggle with her own British and Egyptian ethnicities is the medium through which The Mummy presents the Published by DigitalCommons@UNO, 1 Journal of Religion & Film, Vol. 7 [], Iss. 2, Art. 1 political, cultural, and religious struggles of the soon-to-be "post"-colonial age of the Orient. Hollywood's love affair with ancient Egypt did not end with The Mummy, and neither did its use of ancient Egypt as a vehicle for cultural commentary about religion and race. This paper will examine the relationship between religion, race, and Western culture through the lens of two classic Hollywood films and their contemporary successors: The Mummy and Stargate, and The Ten Commandments and Prince of Egypt. Each film uses religion and race or ethnicity to naturalize Western ideals - e.g., democracy, science, "Judeo-Christian" monotheism - at the expense of an ethnic "other." The foundations on which the Western self and the "other" are built are religion and ethnicity (or race). The first pair of films explicitly participates in what Edward Said has called a discourse of the Orient which constructs the archetypal Western society in opposition to a superstitious and authoritarian East. The Mummy and Stargate use ancient Egyptian religion as the vehicle for constructing modern narratives about the conflicts between the "authentic" discourses of Western science and Judeo- Christian monotheism on the one hand and "false" discourses of Eastern spirituality and polytheism on the other. Race is the visual codifier of these dualisms, in which the educated and cultured white Westerners fight against or seek to liberate the superstitious "Egyptians." In the second pair of films, monotheism functions as an http://digitalcommons.unomaha.edu/jrf/vol7/iss2/1 2 Schroeder: Ancient Egyptian Religion on the Silver Screen important cultural imperative over and against a socially dangerous false polytheism. Religion is mapped onto ethnicity in the construction of the figure of Moses. One might argue that these films concern dead religions - the myths and cultic practices of the ancient Egyptians - and thus can offend no one. Yet these films are quite openly about the present - the disjuncture between religion and science, the triumph of democracy over tyranny, or the continuing struggles of Jews to maintain their religion and culture in the face of an often-hostile dominant culture. Though many viewers (including myself) might find some of these modern lessons extremely valuable, in three of these films (Prince of Egypt being the exception), they are nonetheless made at the expense of a reiterative "othering" of an equally real, modern, and present East. As Said argued in his book, Orientalism, the intellectual, political, economical, and artistic cultures of the West have all produced a discourse of "hegemony of European ideas about the Orient" which then reiterated "European superiority over Oriental backwardness."2 The "Orient" tells more about the "West" than the "real" East: Orientalism is a system of political doctrines, economic policies, literary and artistic images, and historical narratives that create an "East" that is the opposite of "Western" virtues, and an East produced in the context of Western colonization and imperialism over the East. The Orientalism that has emerged from the political and academic landscape of the Published by DigitalCommons@UNO, 3 Journal of Religion & Film, Vol. 7 [], Iss. 2, Art. 1 nineteenth-century is "the distillation of essential ideas about the Orient - its sensuality, its tendency to despotism, its aberrant mentality, its habits of inaccuracy, its backwardness - into a separate and unchallenged coherence."3 To Said's list of "essential ideas" I would add the Orient's perceived superstitions. Said was originally most concerned with the European production of a Near Eastern "Orient," but today the United States has an equally large political, economic, and cultural investment in the Orient Said deconstructs. These films reflect this American investment in the Orient. Although the geography may be Egyptian, the characters battle for particularly American values. It is, I am sure, no surprise to hear me argue that these films tell us more about American sensibilities than about ancient Egyptian religion.4 What I also argue, however, is that the ways in which ancient Egyptian religiosity is presented reflect not only American values, but American values about race and ethnicity in which the foil is the mysterious, and often false, religiosity of an often Orientalized "other." Some of these films explicitly draw on the colonial and Orientalizing discourses Said has identified to produce an East that serves only to support Western, and in this case American, imperialism over it. On the potentially explosive subject of religion, race, and cultural difference, all of the films produce celluloid dragons for Americans to slay. http://digitalcommons.unomaha.edu/jrf/vol7/iss2/1 4 Schroeder: Ancient Egyptian Religion on the Silver Screen I will begin with The Mummy and its ideological sequel, Stargate. The Mummy opens at a 1921 British Museum field expedition in the Valley of the Kings, where archaeologists Sir Joseph Whemple and Dr. Muller have discovered a mysterious mummy named Imhotep and an accompanying box. A young assistant secretly opens the box and reads the enclosed "Scroll of Thoth" which contains the spell by which the goddess Isis brought the dead Osiris back to life. Imhotep magically
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