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the federal building in Oklahoma, how many people immediately thought the explosion had been the work of Arab terrorists? (Cited in Naylor’s Cultural Diversity in the United States, 330)

Similarly to what happened during the evens of Oklahoma, moviemakers have tried to instil the idea of Arab terrorism in the minds of the audience either through special effects or real military victories. Balio, Barder, Bordwell and Thompson, Shohat and Stam and Hoberman all concur that the movies have influenced virtually every human activity, from politics and warfare to sexual behaviour and dreaming. It is true that after the events of 9/11 for example, the movies have turned Americans as Hoberman notes into “Bob Hoskins in Toontown, real people wandering around delirious mental landscape of special effects, feel good fantasies, and militaristic spectacles (Vulgar Modernism, 334).

The contemporary approval and greeting of movies feigning Morocco by Anglo-Americans is one of the apparent examples that demonstrate the continuity of the orientalist discourse at higher stages of representation. Films as “a new discursive formation” seem to continue and return to the same images and stereotypes of olden travel narratives and guide books written on Morocco. While talking about continuity and repetition in discourse, Foucault argues that the appearance of a new discursive formation does not necessarily suggest the disappearance of the previous one. In Archeology of Knowledge, Foucault explains this saying that

To say that one discursive formation is substituted for another is not to say that a whole world of absolutely new objects, enunciations, concepts, and theoretical choices emerges fully armed and fully organized in a text that will place that world once and for all; it is to say that a general transformation of relations has occurred, but that it does not necessarily after the elements; it is to say that statements are governed by new rules of formation; it is not to say that all objects or concepts, all enunciations or all theoretical choices disappear . On the contrary, one can, on the basis of these new rules, describe and analyze phenomena of continuity, return, and repetition. ( 191).

Respecting Foucault’s words, we can say that the shift of representation from narratives to the cinema does really imply continuity, return and repetition of the previous discursive formation. The rise of movies as a new discursive formation does not lead to the demise or decline of discourse, but a continuity and an extension of cultural domination. This stresses that cinema has marked a continuity of a more complex set of power relations between the “I” and the “other”. The inability of film makers to create a new discursive representation far from the earliest images makes them among the supporters of the myth, which is characterized by uncertainty and fear from the “other” in general. Jack Shaheen, in his major film review books Reel Bad Arabs: How Hollywood Vilifies a People, and Guilty: Hollywood’s Verdict on Arabs after 9/11, in addition to other articles such as “Orientalism and Cinema” and “Hollywood’s Muslim Arabs,” has attempted to disclose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。