Using Edward Said's framework - and developments in colonialist and post-colonialist studies - to investigate orientalism in the cinemas of France, England and America, the contributors draw upon feminist analysis, genre criticism, psychoanalytic interpretation and political history. Starting with a demonstration of how colonialist and patriarchal ideologies interrelate in orientalist narrative films, following chapters explore camp and orientalism in selected musicals: the "family romance of orientalism" in "Madame Butterfly" and "Indochine", and Disney's "Aladdin" as a mirror of America's shifting perceptions of the Muslim world. The contributors include Dudley Andrew, Matthew Bernstein, Phebe Chao and Mary Hamer.
Gender and culture of empire - toward a feminist ethnography of the cinema. Part 1 Historical and generic contexts: the curse of the pharaoh, or how cinema contracted Egyptomania, Antonia Lant; "out-Salomeing Salome" - dance, the new woman, and fan magazine orientalism, Gaylyn Studlar; the thousand ways there are to move - camp and oriental dance in the Hollywood musicals of Jack Cole, Andrienne L. McLean; the family romance of orientalism - from "Madame Butterfly" to "Indochine", Marina Heung; a whole new (Disney) world order - "Aladdin", atomic power, and the Muslim Middle East, Alan Nadel. Part 2 National cinemas: the "Cinema colonial" of 1930s France - film narration as spatial practice, Charles O'Brien; praying mantis - enchantment and violence in French cinema of the exotic, Dudley Andrew; in the labyrinth - masculine subjectivity, expatriation, and colonialism in "Pepe le Moko", Janice Morgan; timeless histories - a British dream of Cleopatra, Mary Hamer; reading "The Letter" in a postcolonial world, Phebe Shih Chao.