This thesis aims to examine the presence of Orientalism in U.S.-American mainstream popular culture. The basis for this is the movie "Sex and the City 2" (hereafter referred to SatCII) from 2010, based on the globally successful series "Sex and the City". The series Sex and the City is one of the most successful series and few TV series have had such
an impact on our contemporary culture. Its success story and its ongoing relevance – as there was even a third movie in discussion – makes the series and the movies highly interesting for academic purposes, since a critical examination of the represented themes provides genuine insights into today's society.
In what way does SatCII project Orientalism? What is the significance behind the used Orientalist representations? What do these images reveal about the relationship between the United States and Eastern countries and, especially how does America see itself? Edward Said claims the representation of the Middle East has less to do with the Orient than it does with 'our' world.
In order to answer the aforementioned questions, Chapter 2.1 deals with the representation of Orientalism and general Orientalist stereotyping in mainstream popular culture. Moreover, it gives insight into their origin and tries to shed light on the development of Orientalism over time. After that, in Chapter 2.2 the paper turns its attention to "Sex and the City" in order to examine whether the series is in hold of a feminist status, as this discourse is of importance for the ensuing analysis.
The analysis in Chapter 2.3, then, looks at the ways in which SatCII depicts the ideology of the ‘feminine Orient’ and ‘masculine Occident’. This part includes select scenes from the movie in order to underline how the U.S. views the East and itself. Finally, Chapter 2.4 deals with one of the characters of the show – Samantha Jones. She is the key figure that represents third wave feminist thinking best and gives additional revealing insight to the notion of Western hegemony over the Orient. This part, too contains selected scenes. The conclusion then summarizes the results and provides suggestions for further, related analysis that might be of importance in this context, but that could not be dealt with in the scope of this work.
Table of Contents
1. Introduction
2. Orientalism in Popular Culture
2.1 Representation of Orientalism in Mainstream Popular Culture
2.2 The Quasi-Feminist Status of Sex and the City
2.3 Sex and the City 2’s representation of the ‘feminine Orient’ and ‘masculine Occident’
2.4 Samantha as Performing Masculinity
3. Conclusion
Objectives & Core Themes
This thesis aims to critically examine the presence and projection of Orientalism within U.S.-American mainstream popular culture, utilizing the movie Sex and the City 2 as a primary case study. It seeks to explore how contemporary Western media reinforces historical Orientalist tropes, investigates the intersection of feminist discourse with colonial rhetoric, and analyzes how specific characters embody Western hegemony over Eastern cultures.
- Analysis of Orientalist stereotypes and Othering in popular media.
- Evaluation of the feminist (and quasi-feminist) status of Sex and the City.
- Examination of the ‘feminine Orient’ versus ‘masculine Occident’ binary.
- Investigation into how Western characters perform masculine dominance over the East.
- Critical review of cultural consumption and the perpetuation of colonial-era power structures.
Excerpt from the Book
2.3 Sex and the City 2’s representation of the ‘feminine Orient’ and ‘masculine Occident’
In order to better understand the notion of the ‘feminine Orient’ and the ‘masculine Occident’, we must once again look back at the colonial history. At a time in which, the so-called "white man" was looking for territories south and east to conquer. It is important to note that Colonialism did not only mean conquest and territorial expansion, but also included education of the foreign peoples. And the colonialist, the “white men” did it from a position of (male) superiority, because they believed they had the better political system, the better and more developed culture and the better social structure.
And at the same time, the colonialists saw the conquered regions as weak and submissive and in need of conquest, change and modernization. Sardar argues that Orientalism that developed out of Colonialism is “based on two simultaneous desires: the personal quest of the Western male for Oriental mystery and sexuality and the collective goal to educate and control the Orient in political and economic terms" (2). Hatem Nazir Akil writes that the Orient was thus seen as feminized, virgin territory that could be colonized. He continues: "The rise of colonialism gave the Westerner a unique opportunity not only to penetrate the mystery of the Orient––but to literally possess it, to shape and alter it. The Orient has become no longer a concept, no longer a topography, but a woman to rule over sexually, to dominate” (62).
Summary of Chapters
1. Introduction: This chapter introduces the research focus on Orientalism in U.S. mainstream popular culture, using the movie Sex and the City 2 as the central case study to explore the relationship between American and Arab cultures.
2. Orientalism in Popular Culture: This section provides a theoretical framework for Orientalism, defining it as a process of 'Othering' and examining its persistence and evolution within modern media through the lens of capitalist and colonial influences.
2.1 Representation of Orientalism in Mainstream Popular Culture: This entry explores the origins of Orientalism in colonial history and discusses its transformation into a consumption-oriented phenomenon in contemporary media.
2.2 The Quasi-Feminist Status of Sex and the City: This chapter analyzes whether Sex and the City qualifies as a feminist series, noting a contradiction between its portrayal of female independence and its adherence to traditional romance tropes.
2.3 Sex and the City 2’s representation of the ‘feminine Orient’ and ‘masculine Occident’: This section evaluates how the movie employs a masculine, Western gaze to portray the Middle East as a submissive, feminine counterpart to the dominant United States.
2.4 Samantha as Performing Masculinity: This analysis focuses on the character Samantha Jones, arguing that she embodies Western hegemony and "masculine" dominance through her sexually permissive behavior and refusal to adapt to local cultural norms in the Middle East.
3. Conclusion: The conclusion synthesizes the findings, confirming that the movie reinforces binary Orientalist stereotypes and serves as an example of ongoing Western cultural hegemony.
Keywords
Orientalism, Pop Culture, Othering, Sex and the City, Feminism, Third Wave Feminism, Western Hegemony, Masculinity, Colonialism, Consumerism, Stereotypes, Abu Dhabi, Binary Thinking, Cultural Representation, Gender Roles
Frequently Asked Questions
What is the central focus of this research paper?
The paper examines the presence of Orientalist tropes and stereotypes in U.S.-American mainstream popular culture, with a specific focus on the 2010 film Sex and the City 2.
What are the primary thematic areas covered?
The core themes include the intersection of colonialism and media, the debate over feminism in modern television, and the construction of the 'feminine Orient' versus the 'masculine Occident'.
What is the stated objective of the work?
The primary goal is to understand how Sex and the City 2 projects Orientalism, what its representations reveal about Western-Eastern relations, and how the U.S. uses media to exert cultural hegemony.
Which scientific methodology is applied?
The author uses a qualitative cultural studies approach, analyzing media texts and incorporating critical theories from scholars like Edward Said, Booker, Daraiseh, and Akil.
What does the main body specifically cover?
The main body investigates the historical roots of Orientalism, analyzes the feminist (or quasi-feminist) status of the Sex and the City series, and performs a close reading of scenes in Sex and the City 2 to highlight masculine, Western-centric biases.
Which keywords define this analysis?
The work is defined by concepts such as Orientalism, Othering, Western hegemony, sexual permissiveness, and contemporary feminist discourse.
How does the author define the 'feminine Orient'?
The 'feminine Orient' describes the colonial and modern Western tendency to view the East as a submissive, feminized region that requires 'freeing' or 'penetration' by the Western man.
Why is the character of Samantha Jones considered significant in this study?
Samantha is viewed as the key figure who performs 'masculinity'—exerting dominance and refusing to respect local customs—thereby acting as a representative of Western cultural supremacy throughout the film.
What is the significance of the veil in the film's narrative, according to the author?
The author argues that the characters' treatment of the veil highlights a 'clash of cultures' where Western women take on the role of the colonialist, critiquing the garment as a symbol of local oppression while reinforcing their own perceived superiority.
- Quote paper
- Sina Schmidt (Author), 2021, Orientalism in "Sex and the City 2". Representation of the 'feminine Orient' and 'masculine Occident', Munich, GRIN Verlag, https://www.grin.com/document/1280402
