orientalism and the arab body

7/26/2019 Orientalism and the Arab Body

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ORIENTALISM & THE ARAB BODY

Frank Dicksee, Leila, 1892, Oil on canvas

THE PRODUCTION OF MEANING


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'a Western style for dominating, restructuring, andhaving authority over the Orient

Edward Said, Orientalism, 1979


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Another important function, then, of the picturesque Orientalizing in this case is to certify that the people encapsulated by it, defined by its presence, areirredeemably different from, more backward than, and culturally inferior tothose who construct and consume the picturesque product. They are irrevocablyOther.

Linda Nochlin, The Imaginary Orient, 1983


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Jean Leon Gerome, The Snake Charmer, c. 1870, Oil on canvas


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Jean Leon Gerome

The Slave Market

1867

Oil on canvas


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Jean Leon GeromeFor Sale: Slaves at Cairo

c. 1871

Oil on canvas


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Jean Leon Gerome

The Moorish Bath

c. 1870

Oil on canvas


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Eugene Delacroix, The Death of Sardanapalus, 1827, Oil on canvas


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Jean-Auguste-Dominique Ingres, The Grand Odalisque, 1814, Oil on canvas

THE ODALISQUE / HAREM


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Jean-Auguste-Dominique Ingres, Odalisque with Slave, 1841, Oil on canvas


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Jean Leon Gerome

After the Bath

1881


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Jean Leon Gerome,Harem Girls Feeding Pigeons in a Courtyard, 1895, Oil on canvas


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Pierre Auguste Renoir

The Harem

1872


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Henri RegnaultExecution without Judgment

Under the Caliphs of Granada

1870


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From Malek AloullasColonial Harem

Colonial Algeria, early 20thcen.

"Wanting to possess the Algerian land,

French colonists first claimed the bodies of

its women, using sex as a surrogate for an

extension of another larger usurpation of

culture."


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From Malek Aloullas

Colonial Harem


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Marc Garanger

Algerian women photo IDsc. 1960


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Marc Garanger

Algerian women photo IDs

c. 1960


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Marc Garanger

Algerian women photo IDs

c. 1960


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French postcard, c. 1920


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HOLLYWOODS ARAB

D.W. GriffithsIntolerance, 1915


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The Sheik

1921


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The Thief of Baghdad, 1924


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The Thief of Baghdad, 1924


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Porky Pig Ali-Baba Bound, 1932


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Spike Jones & His City Slickers, The Sheik of Araby, 1942

BACK TO THE HAREM!


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Son of Sinbad, 1955


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Harum Scarum, 1965


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1958

Leon Uris

&

Edward Gottlieb


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Poster forExodus, 1960


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Raiders of the Lost Ark, 1981


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Back to the Future,

1985


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Aladdin, 1992


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Aladdin, 1992


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Brood of Serpents, from Julius Streichers Der Strmer, September 1934


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JAFARTHE JEW


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Zero Dark Thirty (2012)

Executive Decision (1996) Death Before Dishonor (1987)

Black Hawk Down (2001)

Navy Seals (1990)

Rules of Engagement (2000) True Lies (1994)

Iron Eagle (1986)

Andmany more

Produced in coordination with the U.S. Department of Defense


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Zero Dark Thirty, Dir. Katherine Bigelow, 2012


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Rules of Engagement,

2000


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Iron Eagle, 1986

CRIMSON JIHAD!


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True Lies, 1994

CRIMSON JIHAD!


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THE HYPERREAL & SIMULACRA


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While repetition can represent the larger structures that surround us, italso reveals the impossibility of single truths in photography. The fact thata single view can be repeated but is modified each time through the filters

that affect its appearance weather, light, culture, society, events,politics, economics makes each photograph a fragment of a whole that simpossible to fully describe or reach. It might seem that multiplying aview would get us closer to the truth; instead, repetition reminds us that

meanings are always multiple and changingRepetition suggests thatviews are never singular, but that each time we look, we see somethingdifferent.

Sze Tsung Leong, A Picture You Already Know, 2008


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SIMULACRUM -

From the Oxford English Dictionary:

1. A material image, made as a representation of some deity, person, orthing.

2. Something having merely the form or appearance of a certain thing,without possessing its substance or proper qualities.

3.

A mere image, a specious imitation or likeness, of something.


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In addition, (Baudrillards) postmodern universe is one of hyperreality in whichentertainment, information, and communication technologies provide experiencesmore intense and involving than the scenes of banal everyday life, as well as the

codes and models that structure everyday life. The realm of the hyperreal (e.g.,media simulations of reality, Disneyland and amusement parks, malls andconsumer fantasylands, TV sports, and other excursions into ideal worlds) is morereal than real, whereby the models, images, and codes of the hyperreal come to

control thought and behavior. Yet determination itself is aleatory in a non-linearworld where it is impossible to chart causal mechanisms in a situation in whichindividuals are confronted with an overwhelming flux of images, codes, andmodels, any of which may shape an individual's thought or behavior.

From the Stanford Encyclopedia of Philosophy


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The Kingdom, 2007


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1976


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2011


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2012


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!"#$ !"#& !"'(

)&&$ )& )&&*


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)&&$ )&&' )&!!


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1945


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Jean Leon Gerome, The Snake Charmer, c. 1870, Oil on canvas

ABU GHRAIB


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ABU GHRAIB 2003 - 2004


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orientalism and the arab body

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