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摩洛哥是地理学上的一片陆地，它的公民和文化长期以来令外国人颇感兴奋，甚至早至殖民时期。很多旅行家、作家和人类学家，比如伊迪斯▪华顿，保罗▪鲍尔斯，克利福德▪纪尔兹，都曾将摩洛哥传统文明作为自己作品的主题。伴随着西方工业的崛起和帝国倾向性的资助，西方作家和电影导演对摩洛哥的描绘往往是按照殖民主义者的要求与时代的需要来进行。作为西方殖民主义意识形态的继承者，英美文学与媒体将他们的注意力转移到了北非另一个阿拉伯世界，主要是摩洛哥。英美文学对摩洛哥最初的关注主要开始于一系列旅行记事、随笔和小说等等，将摩洛哥作为自己文章主题和电影背景。

回想英美电影和文学对摩洛哥特征的一些历史观点，我们可以发现，这些作品以政治、经济和宗教动机为借口，使得西方世界对摩洛哥人民以及其他文化方面的垄断代表合法化。阿里▪巴格达看到西方人从早期旅行着到现代旅游业，都将阿拉伯世界包括摩洛哥人在内，描绘为“野蛮”、“幼稚”、“性侵”等等。作为一名在美国的阿拉伯学生，阿里▪巴格达讲述了一些把他描述成凶恶的阿拉伯人的情况：

Morocco, its geographical terra firma, citizens and culture, has titillated foreigners long times ago, even before the colonial era. Many travellers, writers and anthropologists like Edith Wharton, Paul Bowles, Clifford Geertz, and others have made of Moroccan traditions and civilization the main themes of their books. Amid the western industrial uprising under the patronage of the imperial inclination, cavalcades of western writers and film makers have portrayed Morocco according to the colonialist requirements and desires of the era. The Anglo-American literary and media productions as legatee to the ideology of Western colonies in general, turned their gazing gawk on another Arab space in North Africa, mainly Morocco. The original outset of the Anglo-American interest in Morocco can be traced through successive genres of travel narratives, essays, novels, etc. that seized Morocco as their subject of writing and setting of shooting films down to its strategic and intercontinental locus.

Going back to some historical reviews of the literature written about the representation of Morocco in the Anglo-American cinema and literature, we find that political, economic, and religious motivations are various pretexts that legitimize the western representation of Moroccan people together with their different cultural aspects. In Belated Travelers, Ali Bahdad has shown how westerners from the early travelers to modern tourism have defined the Arab including Moroccan people as “savages”, “child like”, “sexually thrilling”, etc. As an Arab student in the United States, A. Behdad recounts some situations that construe him as a menacing Arab:

I couldn’t but feel scapegoated by the power of representation and stereotypes that had transformed me into a metonymy of what the Middle East signifies in the imaginary of the United States; incomprehensible by terrorism and fanaticism. (Belated Travelers, xii)

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