In his book “Orientalism”, Palestinian literary scholar Edward Said explained Orientalism as the belief in Western superiority over the East. This belief is perpetuated by Western society as a foundation for creating theories, narratives, social descriptions, and political assessments about the East—its people, customs, mentality, and destiny. Western societies, through this philosophy, promote the idea that Arab communities are savage, uncivilized, and pose a threat to the West.
Said pointed out that Orientalism began during the European Enlightenment and the colonization of the Arab world. It provided justification for European colonialism based on the notion that the East was fundamentally different and inferior, thus requiring Western intervention or “rescue.” Given that art plays a significant role in spreading cultures, ideas, and ideologies, the West has long used films and songs to reinforce stereotypes and propagate Orientalist culture.
Western films and advertisements have portrayed a racist view of the East, presenting it as “the other” that cannot be equal to the West. These media types often depict Arabs as terrorists or tyrants, portray Arab women as either terrorists or sexual objects, and present veiled and niqab-wearing women as oppressed and submissive.
Orientalism in the Silver Screen
Disney’s Aladdin (1992)
The song “Arabian Nights” from the Aladdin soundtrack describes the protagonist’s homeland as a place where “they’ll cut off your ear if they don’t like your face,” depicting it as barbaric but still “home.” After backlash regarding the lyrics, the song was altered in the 2019 remake, removing the offensive line.
Iron Man Series – 2013
In the first Iron Man film, actor Faran Tahir challenged the Islamophobic narrative by changing the portrayal of the kidnappers of Tony Stark from a group of Muslim terrorists to a band of international mercenaries. However, in Iron Man 3, the storyline shifted focus to a terrorist threat named “The Mandarin” based in Pakistan. The scene depicted a group of veiled women working in a sewing factory, and Iron Patriot remarks, “Yes, you’re free, if you weren’t before… No need to thank me.” Yet one of these veiled women turns out to be a terrorist hiding her identity under the veil, reinforcing negative stereotypes about Muslim women as both oppressed and dangerous.
American Assassin (2017)
Described by author Opheli Lawler as “ a film that pairs American exceptionalism with American imperialism masked as spreading democracy”, American Assassin is about a young CIA agent seeking revenge after his loved ones are killed by terrorists. It portrays Arabs as the primary source of terrorism and weapons of mass destruction, thus promoting “Islamophobia” (fear or prejudice against Islam and Muslims, especially as a political force).
Positive Representations in Hollywood
While most films with Arab elements promote Orientalist views, a few exceptions present more realistic portrayals of the Arab world. Kingdom of Heaven provided an accurate historical context of Jerusalem, and Victoria and Abdul conveyed a humanitarian message without bias.
Commercializing Stereotypes
IKEA’s 2012 Saudi Arabian Catalog:
In 2012, IKEA faced criticism for removing images of women from its Saudi Arabian catalog. The same scenes in international versions included women, highlighting a significant alteration for the Saudi market. The images below shows a side-by-side comparison of the international catalog (left) featuring a woman, and the Saudi Arabian version (right) where the woman has been removed.
Coca-Cola’s 2013 Super Bowl Advertisement
Coca-Cola’s 2013 Super Bowl ad employs orientalist imagery by featuring an Arab man dressed in traditional attire leading a camel through the desert. This portrayal relies on outdated and stereotypical visuals of the Middle East as a barren, timeless landscape inhabited by mysterious and primitive figures. The ad’s depiction reduces Middle Eastern identity to a simplistic and exoticized trope, ignoring the modernity and diversity of the region.
Final Remarks
In examining these films and advertisements through the lens of Orientalism, it becomes evident how media continues to shape—and often distort—our perceptions of the Arab world. While some works are now beginning to reject outdated tropes and offer more nuanced perspectives, the entrenched stereotypes remain pervasive. Challenging these portrayals and advocating for authenticity is crucial for dismantling Orientalist narratives and embracing a more inclusive global culture.
