“Oh East is East and West is West, and never the twain shall meet,
Till Earth and Sky stand presently at God’s great Judgement Seat;
But there is neither East nor West, Border, nor Breed, nor Birth,
When two strong men stand face to face, though they come
from the end of the earth!”1
Stereotypes exist everywhere around us and are a natural means to be able to talk about the world. However, they might result in prejudices and discrimination. The stereotypical division into “East” and “West” is evidently a too simplistic one, since there is nothing matching these expressions in the world.
This research paper aims to reveal methods of postcolonialism to overcome binary oppositions like “East” and the “West”, which have been constructed during colonial times through western conception and representation of the “East”. After briefly showing constitutive and simplifying characteristics of language in general, an introduction to Eward Said’s work Orientalism is given as an example of the creation of the ‘otherness’ of a specific group. Orientalism focuses on how and to which extend the Orient or the East has been created in western notions. By this means the necessity for postcolonial discourse is highlighted. This so-called rewriting of the past can also be observed in the Asian British diaspora. The movies East is East and Ae fond Kiss can be interpreted as an example for postcolonial discourse and an attempt to break national or ethnic stereotypes and binary juxtapositions.
Table of Contents
1. Introduction
2. The relation between language and the world
2.1 Language as a construction of the world
2.2 Language as a simplification of the world: the origin of stereotypes
3. The power of representation: the portrayal of the ‘East’
4. Deconstruction of stereotypes in East is East and Ae Fond Kiss
4.1 Elements of Humour in East is East
4.2 drawing parallels in Ae Fond Kiss
5. Conclusion
6. Bibliography
Objectives and Research Focus
This paper examines how postcolonial discourse is utilized in the films "East is East" and "Ae Fond Kiss" to dismantle binary oppositions and rigid stereotypes regarding the Asian British diaspora. By analyzing the construction of reality through language and the subsequent power of representation, the work explores how these films attempt to move beyond colonial-era biases.
- Analysis of structuralist linguistic theory in the formation of social stereotypes.
- Evaluation of Edward Said’s concept of "Orientalism" and the "East-West" binary.
- Examination of humor as a tool for subverting cultural prejudices in "East is East".
- Investigation of paralleling narratives in "Ae Fond Kiss" to highlight hybridity and complexity in diasporic identities.
Excerpt from the Book
4. Deconstruction of stereotypes in East is East and Ae Fond Kiss
The South Asian diasporic community in Great Britain includes Indians, Pakistanis, Bangladeshis, Muslims, Hindus and many more. They are all refered to under the term: Asian British. This term, which was originally meant as a geographical description, goes along with a set of stereotypes, assumptions and possibly prejudices of these ethnic groups. That in turn, led to racism and discrimination of Asian immigrants.
The necessity to reconsider the discourse of these minorities and the need for them to give a representation as realistic as possible has been made clear in previous chapters. But as Said has pointed out, all representations are, because of the nature of representations, yet other representations and not the truth either. Asian British diasporic films often try to break stereotypes and show their heterogeneity. But when talking about the deconstruction of stereotypes one has to bear at least two aspects in mind.
Firstly, diasporic communities in Britain are not generally against the use of the term “British Asians”. The unification under this term might serve them to describe their identity. Stereotypes in general, as I touched on in previous chapters, are a normal way to describe the world. This term is not inherently negative or meant offensive. It is the oversimplistic assumptions of them being a homogenous group that is perilous.
Secondly, as expressed in Beyond Bollywood it has to be taken into account that the minority communities which might have been represented as negative in the past, now expect to be represented positive. In this context it is generally refered to the “burden of representation”. However, this is not the intention of East is East and Ae Fond Kiss, which give neither a positive nor a negative picture of British Asians, but try to give a realistic one, stressing their hybridity and heterogeneity.
Chapter Summaries
1. Introduction: Introduces the critique of binary oppositions like "East" and "West" and sets the stage for exploring postcolonial discourse in Asian British cinema.
2. The relation between language and the world: Explores the structuralist view that language constitutes reality and serves as the foundation for simplified, stereotypical thinking.
3. The power of representation: the portrayal of the ‘East’: Discusses Edward Said’s "Orientalism" to explain how the "East" was ideologically constructed by the West to assert superiority.
4. Deconstruction of stereotypes in East is East and Ae Fond Kiss: Analyzes how the specific films use humor and narrative parallels to challenge monolithic portrayals of the South Asian diaspora.
5. Conclusion: Summarizes that both films succeed in presenting British Asians as complex, rounded individuals rather than reducing them to stereotypical tropes.
6. Bibliography: Lists the academic sources and texts referenced throughout the research paper.
Keywords
Postcolonialism, Stereotypes, Representation, East is East, Ae Fond Kiss, Asian British, Orientalism, Identity, Diaspora, Hybridity, Binary Opposition, Film Analysis, Structuralism, Ethnicity, Cultural Discourse
Frequently Asked Questions
What is the fundamental objective of this research paper?
The paper aims to show how postcolonial discourse in film helps to dismantle harmful binary stereotypes by highlighting the complexity and hybridity of the Asian British community.
Which films are used as the primary case studies?
The study focuses on the films "East is East" and "Ae Fond Kiss".
What is the core research question regarding language?
The paper investigates how language shapes our perception of reality and how the need to simplify the complex world leads to the creation of stereotypes.
What theoretical framework is applied to these films?
The author primarily utilizes the structuralist approach to language and Edward Said’s theory of Orientalism to analyze the construction of "Otherness."
How is the main body of the work structured?
The main body moves from theoretical foundations regarding language and representation to a practical analysis of specific cinematic techniques like humor and parallel character development.
What does the term "Asian British" imply in this context?
The paper argues that while "Asian British" serves as a useful identity descriptor, it is frequently misused as an oversimplification that ignores the internal diversity of the community.
How does "East is East" specifically challenge stereotypes?
The film employs humor and parody to target both Pakistani traditions and white British prejudices, creating a more balanced and realistic portrayal.
In what way does "Ae Fond Kiss" use parallels to avoid stereotypical depictions?
The film draws parallels between the challenges faced by Muslim and Catholic characters, showing that fundamental human conflicts and family pressures are universal, rather than culture-specific.
- Citation du texte
- Marieke Jochimsen (Auteur), 2008, Deconstruction of Stereotypes in "East is East" and "Ae Fond Kiss", Munich, GRIN Verlag, https://www.grin.com/document/148620
