New Disney Aladdin Remake Tense Cultural Policy

New Disney Aladdin Remake Tense Cultural Policy
New Live Action Aladdin cannot completely remove the story's story.

Disney's live-action Aladdin is a new version of their 1992 animated film, after all, at the cinemas and at one level, this is a great achievement. There was a lot of cultural goods to produce this film, directed by Cow Richey and they were suffering from controversy and suspicion about the basis and execution already before filming began.

The entire Backlash is not entirely the fault of the 2019 film. Although the original film was critically acclaimed, it was leaking in the harmful racist portrayals of Orientalism and Arab culture. For the most part, the new film has managed to eliminate the extremism of its inspiration and cultural impurities, but despite the apparent efforts of Ritchie to offer a more respectable version of Aladdin, it can not be enough to satisfy it. Its many blockers

Council on American-Islamic Relations issued a press release earlier this week asking critics and critics to recognize that "the myth of Aladdin lies in racism, orientalism, and Islamophobia" and it "addresses concerns about this "Racial and religious conservatism [New] separated from the Disney movie. "

Most people think that Aladin's story comes from the original stories of 1001 Nights, which is a collection of traditional folklore of the Middle East and Asia. But, in fact, Aladdin is not a traditional story; This is a different story, and it is the one which is still the reason for the dispute.

The history of Aladdin is born from a mixture of cultural influences, each has an oriental view.

Aladdin had no known source before joining it in his 18th-century translation of 1001 Nights by the French author Antoine Galland. Galland claimed to hear it from the Syrian narrator first hand, but claiming that his original story came from a foreign and distant source, is a common literary tool, and it is likely that this Syrian storyteller will ever Do not exist. In other words, a French man with a European colonial vision of Asia gave us the original Aladdin.

A xenophobic vision of the exclamation of history, other cultures, or people of those cultures, is inherent in that structure, in the form of some weird, unfathomable or strange. A typical flavor of foreignism is Orientalism, which is a famous idea conceived by Edward Saeed. He said that he was a pioneer in early postcolonial research, and in his book Orientalism of 1978, he described literary and narrative tropes that American and European writers (and still use) strange to Asia and the Middle East. , Used to retrograde and paint opaquely. Impossible to understand, the second part of these cultures often takes the form of romantic representation in the form of mysterious land or mysterious imagination of these areas, which is made from the colonial perspective.

What is attractive about the origin of this story is that although 1001 nights were traditionally translated into English as Arabic Nights, the original story was not established in the Arab world, but in China. The early versions of the nineteenth and twentieth centuries clearly show Aladdin culturally Asian.

By the 20th century, I could also get many theatrical performances of Aladdin as a cultural sugar, as it was in this yellow-faced production of British Pantomime of 1935:

But the myth of Aladdin was also a cultural mix, in which there were many representations of history that used to mix Asian elements with European elements independently. In a musical version of 1880, Aladdin was portrayed by a yellow-faced actor who looks European in a contemporary form:

This tendency of modernizing Aladdin in the 20th century has continued. As we can see in this archive of Stage Productions of 1925, the story was often presented as to the foreign hybrid story of foreign preemption with modern language and fashion of foreign language.

However, after the rise of Hollywood, European and American storytellers gradually started transforming Aladdin into a Middle Eastern story. The movie studio showed a foreign environment and emphasized on cultural norms.

And any Hollywood production did not make this change more concrete than Disney's animated version of Aladdin.

In 1992, Aladin said that how we thought about the story and the new film had to deal with that heritage.

Perhaps in response to its perceived roots in the form of Syrian history, the 1992 animated film transplanted the fictional city of Agrababa elsewhere with the Jordan River. But Disney has given the film many architectural and cultural elements which come from India, such as the palace of the Sultan on the Taj Mahal.

The 1992 film shows many Orientalist stereotypes: Myth is a remake of mysterious myth, in which Agra is clearly described as a "mystery city". Jasmine is a princess who wants to escape from an oppressive and controlled culture; His ultimate goal is to get enough independence to marry for love instead of political convenience, which has given him a surprisingly timely, but now it seems quite limited. In the meantime, her father, Sultan, is a stubborn man-child, manipulates easily. The citizens of Agrabah are often portrayed as barbarians carrying erotic swords and belly dancers. Even worse, the initial song, "Arabian Nights," originally contained a ridiculous racist line, "They cut off your ears if you do not like your face / it is barbaric, but hey, this is your house."

Perhaps most importantly, the film makes its heroes, Aladdin, and Genie culturally American. His intelligence of the street, his cunning, and his striking Brigadasios are codified as the things that separate the Kodbees and separating them from the famous jokes of Robin Williams's workplace, while the genie is derived from America's contemporary pop culture in an unethical way. Is removed. In essence, it is easy to read Aladin and Genie without thinking, because there are two Yankees in a land full of other foreigners.

This version of the story has been fixed, so launching a new version of Aladdin in 2019 is working with all of this time at a time when the public is less likely to close one eye. There was a hard start of things: Richie's choice as director (excellent when it comes to fast action on the road, but not so much when it comes to the nuances of the race) did not inspire a ton of confidence at all.

Then came one casting polemic after another. An initial report states that Ritchie and Disney Studios had difficulty in choosing the main role, because of the perceived difficulties of finding Arab and Asian actors, who could sing, became angry with the fans. Then, instead of Middle Eastern or Arab actress, production criticized for choosing Indian ethnic British actress Naomi Scott as Jasmine. And then the news that the film has added a new white male character to artists, played by The Woods' Billy Magnusson, increased their eyebrows. (His role was finally a small part added to the comic contrast with Aladdin).

In order to make matters worse, the report said that Disney had "tanning" some actors on the set, they provoked silly reactions and received a quick response from Disney, and said that "Greatest for great care and One of the most diverse actors was put together. "On the screen" and said that "the diversity of our cast and background actors was a requirement and Only in a few cases where special skills, protection, and control (special effects, doubles and animal handling equipment included) has been confirmed by the crew members. "

Given all these, suspicions have spread about the film. It seems that Disney and Richie have tried to give a respectable movie: they have written three-dimensional in most of the main characters, especially Jasmine and Genius, and have eliminated the foreign stereotypes of the film's predecessors. Still, there is still a lack of confidence in your final product. The Council of American-Islamic Relations notes before the beginning of the film in the United States. UU As has been seen in the trailer, despite the efforts of Disney to overcome the concerns of 25 years ago, the racist themes of original animated cartoons have been reproduced in live-action remakes. "

Then there is a tense socio-cultural context in which this new live-action movie is showing. At any other time, Aladdin may be slightly more than the dosage of multiculturalism, but it emerged at a time when global politics is heavy, progressivism has fought for ethnic and diverse and authentic cinema and extremists, all from politicians Radicals Media fundamentalists involved in the bombing of online review have demolished and attacked the idea of ​​multicultural representation.

Post a Comment