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The main difference between the depiction of previous cultural ‘others ‘and the contemporary filmic portrayal of Islamic men is the context of the image projected. The incessant link with terrorism is endemic and is far more potent than any symbolism used since the height of the Cold War with the Russians. Yet even in this instance, Muslims can quite correctly claim to be harshly done by. The United States’ quarrel with Russia revolved around opposing political ideologies; the Hollywood prejudice surrounding Islamic men concerns their faith, their ethnicity and, indeed, their entire of way of life. In this way, the negative imagery of Islam dominant in the West is a wholly encompassing phenomenon resulting in a more complete feeling of alienation and revulsion in the Middle East.

Hollywood, should it so desire, could play a significant role in the assimilation of Muslims into Western society, especially in the wake of9/11 and the on-going ‘war on terror’. Although it is impossible to gauge the actual influence of Hollywood film on the broader consensus of popular taste and culture, it is taken for granted that the drip tap effect of mainstream American cinema is particularly pervasive throughout Western society.

The climate of fear created in the Cold Wares the most recent example of the success of the combined propaganda forces of the USA and the West where a tangible sense of fear was felt as a result of negative imagery and the construction of a mythical dividing line between the East and the West. Furthermore, with the considerable advances in techniques during the past thirty years, Hollywood now appears more ‘real’ than ever before. Thus, whereas film commissioned during, for instance, the 1970’s now appear dated and obviously outside of the realms of reality, the same cannot be said of Hollywood’s contemporary cinematic output, as Ellis (1982:78)ascertains.

“Cinema as a photographic medium instantly poses its images and sounds as recorded phenomena, whose construction occurred in another time and place. Yet though the figures, objects and places represented are absent from the space in which the viewing takes place, they are also(and astoundingly) present.”

One suspects that, even if the Muslims could shed their Hollywood tags the symbol of terror, there would be another social, racial or ethnic group that would be seen as an ideal substitute. Viewed in this way, the existence of the cultural ‘other’ will always exist in Hollywood film for as long as the present pre-eminence of the international system of the nation state prevails. Globalisation, therefore, and its inherent economic and political desire to break down traditional nationalistic frontiers may present an opportunity to eradicate the excessive depiction of the perennial cultural pariah in the future. Yet, as analysts such as Chomsky have noted, the paradigm of globalisation is in fact a smokescreen for US imperialist policy that will continue to rely on cinema as an entertainment based means of cultural propaganda.

Bibliography

Bormann, John and Donohue, William (Eds.) (1994) Projections 3: Film makers本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。