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were found guilty and involved in “terrorist” acts, Moroccans again are perceived as antagonistic to western values and a threat to the western stability. In Babel, the film maker clearly shots this belief to show that all Moroccans are against the Anglo-American presence in Morocco including tourists who are bulleted by a small Moroccan child in the mountains. In the film’s scenes, CNN reports and considers this event a terrorist attack. In this conjunction, Woll and Miller argue that the Arab image has “stalked the silver screen as a metaphor for anti-western values. The movie Arabs, and the television Arabs, have appeared as lustful, criminal, and exotic villains or foils to western heroes and heroines” (Ethnic and Racial Images in American Film and Television, 79).

Across the films under study, Anglo-American cinematic productions seem highly obsessed by stereotypical images of Moroccans. Arabs and Africans in general and Moroccans in particular are cinematically constructed to possess a wide array of loathsome characteristics: they may be backwards, wild, cruel, blood thirsty, crude, sex-crazed, stupid, dishonest conniving or menacing. Year after year and decade after decade, hundreds of films have flooded the market with a large number of unfavourable Arab and African depictions. In his book, Reel bad Arabs: How Hollywood Vilifies a People, Jack Shaheen has studied more than one thousand films with major Arab themes and settings, about 40 of which are about Morocco. In his latest book, just after 9/11, Guilty: Hollywood’s Verdict on Arabs after 9/11, Shaheen has studied again more than one hundred films about Arabs picturing them as responsible for what is happening now around the world.

Within these bundles of stereotypes, one can wonder about the reason behind all these biased descriptions. As a response to such questions, many scholars like Churchill agree that “it seems necessary to alter realities to assume the maintenance of empire” (Fantasies of the Master Race, 38). Churchill goes on saying that “mere conquest is never the course of empire in the achievement of mission can only be attained through the productive utilization of captured ground” (34). Within the same line of thought, Pieterse writes that “the legacy of several hundred years of western expansion and hegemony, manifested in racism and exotism, continues to be recycled in western cultures” (White on Black: Images of Africa and Blacks in Western Popular Culture, 9). Coming to mediatic representations, we find that Brzezinki in Out of Control: Global Turmoil on the Eve of the 21st Century, Naylor in Cultural Diversity in the United States, and Shohat and Stam in Unthinking Eurocentrism all agree that Hollywood cinema promotes Eurocentric representations in order to further an economic and political propaganda. In the present time, which is characterized by terrorism, we see that the movie discourse of the First and the Second World Wars repeats itself and continues to endorse and legitimize the imperial vision of the “white man’s burden”. Buschbaum asserts that “as early as the First World War, many western governments recognized the propaganda potential of film (Left Political Filmmaking in the West: The Interwar Years, 26), in the Second World War, in Ross’s words, “the movie indust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。