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Imagens orientalistas da China no cinema de Hollywood
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Resumo(s)
A presente dissertação centra-se na análise das imagens da China nos filmes de
Hollywood na perspetiva do Orientalismo. Procura-se perceber como o discurso
orientalista funciona no cinema de Hollywood sobre a China, observando como os
chineses e a cultura chinesa são representados nestes filmes e como mudaram ao
longo do tempo, tomando Mulan (1998) e Mulan (2020) como exemplos. Pretende-se
ainda explorar a forma como os filmes sino-americanos desafiam o discurso
hegemónico da sociedade americana dominante sobre a China, ou seja, como
desconstroem o orientalismo, tomando The Joy Luck Club (1993) e Everything
Everywhere All at Once (2022) como exemplos, mas ao mesmo tempo defende que há
ainda suspeitas de auto-orientalização nestes filmes, atendendo aos estereótipos
ocidentais da China, e até criando novos estereótipos.
This dissertation focuses on the analysis of images of China in Hollywood films from the perspective of Orientalism. It aims to understand how the orientalist discourse works in Hollywood cinema about China, observing how the Chinese people and Chinese culture are represented in these films and how they have changed over time, taking Mulan (1998) and Mulan (2020) as examples. It is also intended to explore how Chinese-American films challenge the hegemonic discourse of dominant American society about China, that is, how they deconstruct orientalism, taking The Joy Luck Club (1993) and Everything Everywhere All at Once (2022) as examples, but at the same time argues that there are still suspicions of self-orientalization in these films, catering to Western stereotypes of China, and even creating new stereotypes.
This dissertation focuses on the analysis of images of China in Hollywood films from the perspective of Orientalism. It aims to understand how the orientalist discourse works in Hollywood cinema about China, observing how the Chinese people and Chinese culture are represented in these films and how they have changed over time, taking Mulan (1998) and Mulan (2020) as examples. It is also intended to explore how Chinese-American films challenge the hegemonic discourse of dominant American society about China, that is, how they deconstruct orientalism, taking The Joy Luck Club (1993) and Everything Everywhere All at Once (2022) as examples, but at the same time argues that there are still suspicions of self-orientalization in these films, catering to Western stereotypes of China, and even creating new stereotypes.