The Reluctant Islamophobes: Multimedia Dissensus in the Hollywood Premodern
This paper contributes to the theorization of how Orientalism has evolved after 9/11 and in the first two decades of the twenty-first century. I specifically address the multimediality of films and propose that post-9/11 Orientalism has fragmented into more digestible, more complex micronarratives d...
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| Опубликовано в: : | URI:https://journals.openedition.org/ejas, |
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| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
| Опубликовано: |
European journal of American studies
2020
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| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Итог: | This paper contributes to the theorization of how Orientalism has evolved after 9/11 and in the first two decades of the twenty-first century. I specifically address the multimediality of films and propose that post-9/11 Orientalism has fragmented into more digestible, more complex micronarratives dispersed throughout the interplay of different media which constitute the film experience. I recur to Foucault’s concept of dispositif to illustrate how any of these media—such as music, screenplay, editing, acting, etc.—may “[enter] into resonance or contradiction with the others” (Foucault 195), ambiguating the film’s politics. When the film’s different media pursue diverging politics, I speak of multimedia dissensus. In order to test this hypothesis, I focus on two films which explicitly champion diversity and aim to reverse the logics of Islamophobia by presenting tributes to Muslim culture or denunciations of Eurocentric discriminatory practices: Alejandro Amenábar’s Agora (2009) and Ridley Scott’s Kingdom of Heaven (2005). A more detailed analysis of the films’ multimedial complexity, however, shows that they do participate in the Islamophobic discourses that have dominated Hollywood cinema after 9/11. |
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