De-orientalizing Dune: Storyworld-Building Between Frank Herbert’s Novel and Denis Villeneuve’s Film.
In Dune (1965), Frank Herbert builds an SF universe that, although futuristic, remains geopolitically reminiscent of our historical world, with ethnically and culturally identifiable characters. For all his storyworld-building efforts, Herbert’s representation of the desert planet Arrakis and his Ar...
| Publicado en: | Ekphrasis (2067-631X) Vol. 28; no. 2; pp. 49 - 68 |
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| Formato: | Artículo |
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Babes-Bolyai University, Faculty of Theatre & Television
2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=160914201&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 160914201 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 2067631X H6D0 jtl: Ekphrasis (2067-631X) issn: 2067631X maglogo: N pubinfo: dt: 2022 vid: 28 iid: 2 pid: 91118 pub: Babes-Bolyai University, Faculty of Theatre & Television artinfo: ui: 160914201 10.24193/ekphrasis.28.2 ppf: 49 ppct: 19 formats: fmt: @attributes: type: P size: 1.7MB tig: atl: De-orientalizing Dune: Storyworld-Building Between Frank Herbert’s Novel and Denis Villeneuve’s Film. aug: au: DRIDI, Yosr affil: University of Tunis. su: Film adaptations Villeneuve, Denis, 1967- Sand dunes Literary sources Motion picture industry Twenty-first century Orientalism sug: subj: Film adaptations Villeneuve, Denis, 1967- Sand dunes Literary sources Motion picture industry Twenty-first century Orientalism keyword: cinematic adaptation orientalism science-fiction storyworld-building ab: In Dune (1965), Frank Herbert builds an SF universe that, although futuristic, remains geopolitically reminiscent of our historical world, with ethnically and culturally identifiable characters. For all his storyworld-building efforts, Herbert’s representation of the desert planet Arrakis and his Arab/Musliminspired characterization of the Fremen have often been accused of romantic Orientalism at best and white-saviorism at worst. Recently, Denis Villeneuve released his film adaptation of (part of) the novel, Dune: Part One (2021), which has rekindled the debate on SF orientalism and stimulated new discussions on the interpretation of those problematical representational and thematic issues for a cinema-savvy and race-conscious 21st century audience. This paper proposes to determine the extent to which Herbert’s SF orientalism survived in Villeneuve’s adaptation. Accordingly, I will compare the aesthetic literary and cinematic representations of space and characters and discern their thematic implications. Ultimately, Villeneuve’s film will be assessed as an attempt at contemporizing and de-orientalizing its literary source through controversial politics of casting and politically-correct screenplay modifications, hence adapting the novel to the silver screen, the film to the contemporary spectator, and the cinematic product to the Hollywood film industry. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Ekphrasis (2067-631X) is the property of Babes-Bolyai University, Faculty of Theatre & Television and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Ekphrasis (2067-631X) holder: Babes-Bolyai University, Faculty of Theatre & Television dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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