This project examines the production of meaning in two of the most influential films produced during, and shortly after, the US occupation of Japan. It draws on Edward Said’s definition of orientalism, Xiaomei Chen’s definition of occidentalism and seeks to answer the question: How can representations of heroes in Seven Samurai (1954) and The Magnificent Seven (1960) be understood in relation to orientalism and occidentalism? Using Critical Discourse Analysis and Stuart Hall’s theories of representation this project has found that Akira Kurosawa, director of Seven Samurai, through clever use of genre conventions about heroes, constructs a counter-discourse about japanese identity. Therefore Seven Samurai, challenges the occidental practice of the genre Nihonjinron, in Japan during the 1950’s. Furthermore this project argues that The Magnificent Seven reproduces a discourse, about the cowboy as a capitalist individual of the global north, using an orientalist practice.
|Uddannelser||Kultur- og Sprogmødestudier, (Bachelor/kandidatuddannelse) Bachelor|
|Udgivelsesdato||18 dec. 2018|