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美国好莱坞主流电影发展论文-以伊斯兰人形象为例 [5]

论文作者:www.51lunwen.org论文属性:硕士毕业论文 dissertation登出时间:2014-07-16编辑:felicia点击率:21545

论文字数:10216论文编号:org201407161341286555语种:英语 English地区:中国价格:免费论文

关键词:好莱坞主流电影伊斯兰男人Hollywood cinemamainstream Hollywood cinemaIslamicArabic

摘要:这是一篇美国留学论文。随着经济水平的不断提高,人类的精神文化要求越来越高,在好莱坞主流电影中,刻板的伊斯兰人和阿拉伯人形象已经不能适应电影的发展要求。本文以伊斯兰人形象为例,试图打破不同文化之间的差异性和限制性,以促进文化交流和好莱坞电影文化的发展。

een that the greatest problem for literature concerning the subject of Islam has been a lack of insight on the part of Western analysts. With the exception of commentators such as Said, Richard Falkland John L. Esposito, in addition to the recent book by Jitter Klausen,The Islamic Challenge: Politics and Religion in Western Europe(particularly relevant to this study), the collective content of American and Western literature has failed to properly address the ideology of Islam or its broader appeal.


Yet there are more fundamental problems facing students of the West that wish to attain a better understanding of the complexities of cultural conflict in the Middle East. One of the greatest theoretical challenges facing contemporary literature has been how to differentiate between Arabs as a people and Islam as a faith. It is a subject that has only very recently been explored by academics who see a blurring of the lines between Arabs and Muslims as a potential cause of the perpetuation of negative stereotyping in the West.


The difference is not easy to explain. The key to comprehending the symbolic marriage of Islam and Arabism is the wholly different conceptual set up of countries in the Middle East compared to the West, which is best understood as an inversion: whereas the European Union strives to create a sense of unity where none exists, the opposite effect is apparent in the Middle East, where a shared sentiment of cultural hegemony is visible across a myriad of state borders. Contemporary analysts such as Karsh (2003:1) believe that this unique concept of hegemony in the Middle East is a direct result of nineteenth century European imperialism that attempted to instil the concept of the nation-state into an area that had been no prior history of nationalism.


“In past years, the foremost challenge to the [territorial state]system came from the doctrine of pan Arabism (qawmiya), which sought to eliminate the traces of Western imperialism and unify the Arab nation, and the associated ideology of Greater Syria, which stresses the territorial and historical indivisibility of most of the Fertile Crescent. Today, the leading challenge comes from Islamist notions of single Muslim community (Uma). Intellectuals and politicians, denouncing it as an artificial creation of Western imperialism at variance with Arabic yearnings for regional unity, have repeatedly urged its destruction.”


If academics find it difficult to explain the inherent difference between Muslims and the broader consensus of Arabs, then it should come as no surprise to learn that Hollywood has not even dared to approach the subject, preferring to equate Arab with Muslim and portray one as the same. It is for this reason that the typical Muslim man depicted in Hollywood film is always of Middle Eastern descent and more often than not, sporting traditional Arabic dress. This divisive symbolism is a far more potent manifestation of evil.


It should be noted that the blame for this general lack of cultural understanding between the Middle East and the West does not lie solely at the feet of American and European academics and society. Islamic literature is likewise too generalist. Arabian intellectual circles, for instance, have very much been论文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。

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