The prime purpose of this paper is examining the varieties of Orientalist discourse in major Hollywood war movies which simultaneous depict Afghanistan and show favour towards US foreign policy. In...Show moreThe prime purpose of this paper is examining the varieties of Orientalist discourse in major Hollywood war movies which simultaneous depict Afghanistan and show favour towards US foreign policy. In order to draw a conclusion, the methodological framework was set using Orientalist themes from the work of Edward Said as a way of examining the discourse within the sample movies. The first movie examined is Rambo: First Blood III, set during the close of the Cold War. To have variety across the movies’ political landscapes and times, the second examined was the award-winning Zero Dark Thirty, set in the post-9/11 era. The last movie, Lone Survivor, however, was picked in order to challenge my main hypothesis – it is a US war movie depicting brotherhood between the two sides. My main conclusion was that the motive throughout all three movies was the Orientalist mindscape being exploited for military justification of the US wars abroad. Be it supporting or demonising the other, it always had a favourable outcome for US foreign policy rather than being critical of it. Seen from the point of view of art reflecting reality, it serves as a model showcasing how Orientalist discourse can be exploited, thus motivating military operations in the Orient. This in turn amplifies conflict and creates false symbolic imprints on audiences attracted to the genre.Show less
De Indische werken van Hella S. Haasse worden in deze thesis benaderd met kennis van de postkoloniale theorie en er wordt onderzocht of haar Indische romans ook koloniale strategieën bevatten.
