O extremo Oriente imaginado: uma introdução ao estudo dos orientalismos no cinema ocidental

Abstract

With a curatorship of images, the dissertation studies the representations of the Far East in western cinema, focusing in the examples of the following films: Tokyo-Ga, from Wim Wenders (1985), The Pillow Book, from Peter Greenaway (1994) and Kill Bill, Chapter 1 & 2 from Quentin Tarantino (2003/2004). Western cinema created image-representations of the Far East following the imagery created by a strong tradition of colonialist texts made by westerners, as stereotypes of a discourse developed and based upon the horror to differences and the imagination about the others. That is the way the forms and limits of the filmic images shaped a supposed well known Far East. In this orientalist scenario of western cinema, a few films presented other possibilities of representation, creating images so called mestiças, not tied up to the traditional dualist stereotype, presented, in general, as image static, building, still being western, aesthetic and communicational alternatives born in between the differences, in the places in between of culture and midia crossings mainly base don the appropriation of diverse elements from the culture and cinematography of the Far East. To analyze them, we use concepts related to history of cinema, the communication theories (Burch; 1987; Machado; 1997, 2000, 2001, Bellour; 1990, Dubois; 2004) and the studies about hypermidia such as the concept of remediation (Bolter & Grusin; 2000)There will also be considered the concepts from post colonial theory as orientalism (Said; 1990), ambivalence (Bhabha; 2003) and work of imagination (Appadurai; 2000)