One moose, two moose. 4149. In: Lcia, Nagib, Chris, Perriam and Rajinder, Dudrah, eds., Theorizing World Cinema. Princeton, N.J.: Princeton University Press. These differences impede, in one way or the. It begins, if we agree with Chow, with filmmakers internalisation of the exotic gaze or, alternatively, their strategic performance of exotic Otherness to satisfy the expectations of Western critics, festival juries and audiences. Vanishing Paradise: Art and Exoticism in Colonial Tahiti, Berkeley: University of California Press. Durham: Duke University Press. Spaces set aside for expatriate consumption in international four- and five-star hotel chains (such as the Safari Bar in the Hyatt in Muscat, Oman) promise a sanitized encounter with a non-European subject that guarantees the absence of emotional involvement. Segalen, Victor (2002). The word in the example sentence does not match the entry word. Ebert, Roger (1992). Racial Attitudes and Exoticism in the Old English 'Wonders of the East' The flare of recent racial tensions, especially in the wake of the Trump administration's xenophobic rhetoric, has had repercussions in Charlottesville and across the United States. https://www.theguardian.com/film/2016/jan/21/the-assassin-review-captivatingly-hypnotic-if-impenetrable-wuxia-tale. Find out the translation of exoticism to 25 languages with our English multilingual translator. Benedict, Ruth The Assassin: Cannes Review. To be sure, this does not normally apply to popular genre films predominantly targeting domestic viewers, although these sometimes become art films when exhibited abroad (Galt and Schoonover, 2010: 7) or, as the case of the wuxia pian (Chinese swordplay film) illustrates, are adopted by world cinema auteurs like Wong Kar-wai (Yi Dai Zong Shi/The Grandmaster, Hong Kong/China, 2013) and Hou Hsiao-hsien (Cike Nie Yin Niang/The Assassin, Taiwan/China/Hong Kong/France, 2015), who transform them into refined arthouse films. How then are certain global art films decoded as exotic, while others are simply strange or bewildering? It results in creative reconfigurations that occur when the state of boundedness is disturbed by the forces of mobility (Papastergiadis, 2011: 2). Social and cultural differences exist between and amongst nations. 'pa pdd chac-sb tc-bd bw hbr-20 hbss lpt-25' : 'hdn'">. Taking our cue from Al-Najjar (1989), the paper shows that employing Arabicisation can be through (1) loanword in which traits of exoticism are observed in Arabic; (2) loanblend: a hybrid form of the translated item consisting of two parts, one belongs to the Source Language (SL) and another belongs to the Target Language (TL); (3) translation . Of special importance is Edward Saids description of Orientalism as a discursive construction of European fantasies. The exotic also notably unleashes the sexual desires of repressed Westerners. 321 0 obj . Huggan, Graham. Orientalism: Western Conceptions of the Orient. Click on the arrows to change the translation direction. endobj 65: Arts of Display. What they find [] is what they already knew they would find, images predigested by certain platitudes and commonplaces. Ronys observation goes a long way in explaining why exotic forms of cultural representation often seem clichd and stereotypical. By contrast, Western audiences and critics were enthralled by this exotic spectacle which Zhang masterfully manufactured for the pleasure and gaze of the Western viewer (Lu, 1997: 126). noun. She regards fiction films such as Chen Kaiges Huang tu di (Yellow Earth, China, 1984) and Zhang Yimous award-winning Ju Dou (China/Japan, 1990) and Dahong Denglong Gaogao gua (Raise the Red Lantern, China/Hong Kong/Taiwan, 1991) as a new type of ethnography practiced by those who were previously ethnographized and who have, in the postcolonial age, taken up the active task of ethnographizing their own cultures (Chow, 1995: 180). Against this background, contemporary world cinema and the global film festival circuit, its prime site of exhibition, can be understood as a new type of contact zone, which Mary Louise Pratt has famously theorised in the colonial context as the intercultural space of symbolic exchange and transculturation, catering for cosmopolitan cinephiles and their interest in cultural difference. 1997. Vibrant colours, ancient rituals and traditions (both real or invented), a sense of pastness or primitive backwardness in relation to the progressive West, iconic costumes like the loincloth, the sari or the cheongsam that essentialise cultural identities, topographies like the South Sea islands or the Amazonian rainforest, waterscapes covered in carpets of floating lotus flowers or bustling street markets, sensuality, lushness and abundance and a sense of enigma and mystery are all, in varying degrees and combinations, essential ingredients of exoticism. 'x6cB2 `Me * You can email a link to this page to a colleague or librarian: The link was not copied. Harmondsworth, U.K.: Penguin. 120. Ever since Louis-Antoine de Bougainville (in 1768) and other European explorers travelled to Polynesia and perceived the islanders as the incarnation of Rousseaus ideal of the natural man, untouched by the corrupting influence of Western civilisation, the South Pacific islands have come to epitomise paradise on earth (Childs, 2013; Connell, 2003). It is ravishing to watch like being caressed by layers of precious silks, writes Wendy Ide (2015) in The Times, it is virtually impossible to unpick fully what is going on. This sense of enigma and mystery is due to family and political intrigues that are the mainstay of the narrative coupled with the fact that there are two actresses playing double roles (Clarke, 2016). Learn more in the Cambridge English-Chinese simplified Dictionary. 297 0 obj (2000). However, the relationship between realist and exoticist modes of representation is more complicated and they are not mutually exclusive. Cultural Translation, Cosmopolitanism and the Void. I think it depends on the context and situation. Revisiting Exoticism: From Colonialism to Postcolonialism. 158183. A +2 translation. If we conceive of world cinema and its transnational exhibition on the film festival circuit (and beyond) as such a contact zone then the interactive exchange occurring in this space is, on the one hand, the expectation of metropolitan audiences to encounter a particular kind of world cinema that corresponds to their exotic fantasies of Other cultures and, on the other hand, the creation of autoethnographic texts, that is, films made by non-Western filmmakers which appropriate the idioms of metropolitan representation (Pratt, 1992: 7). This is, however, not to say that all exotic films substitute glossy surfaces for deep meaning, thereby effectively compensating for the hermeneutic deficit that may arise when world cinema travels. Whereas the agency implied in the act of seeing is a form of power, being looked at is disempowering (a point also made by Laura Mulvey (1975) in her seminal essay on visual pleasure and the gendered scopic regimes of classical Hollywood cinema). The Postcolonial Exotic: Marketing the Margins. Framegrab. endobj Marks, Laura U. For example, Mira Nairs films Salaam Bombay! Netherlands Yearbook for History of Art 66 (2016), Rembrandt and the Emergence of the Leiden Art Market, Tracing a Pose: Govert Flinck and the Emergence of the Van Dyckian Mode of Portraiture in Amsterdam, SWAN Review CAA Netherlandish Art in Its Global Context and Rembrandt and the Inspiration of India 20191218, Netherlandish Art and the World: A Conference on Global Art History, Utrecht, 25-27 October 2018, Allegory as Historical Method, or the Similarities between Amsterdam and Albania Reading Simon Gikandi's Slavery and the Culture of Taste, Rembrandt's Religious Paintings from 1630s, The Speelman Fellowship and Netherlandish Art in Cambridge, 'Defenders of the Image. Exh.cat. Nagib, Lcia (2020). The foreignizing method of translating, a strategy Venuti also termed ' resistancy ' , is a non-fluent or estranging translation style designed to make visible the persistence of translator by highlighting the foreign identity of ST and protecting it from the ideological dominance of the target culture. In: Isabel, Santaolalla, ed., New Exoticisms: Changing Patterns in the Construction of Otherness. 2. exotic quality or character. 285-304. Shapiro, Ron (2000). The same holds true for world cinema, which must travel from its site of origin and be watched by audiences originating from different nations, regions or cultures. B. Tauris. This paper reassesses the working relationship between Jan van Vliet and Rembrandt in the context of printmaking practices in seventeenth-century Holland. Exoticism in Translation refers to using words and phrases which sound "exotic" in the translated language, because they are of a foreign origin. ), Art in Iran and Europe in the 17th Century: Exchange and Reception (pp. Leiden circa 1630: Rembrandt Emerges, (Agnes Ethering Art Centre, Kingston ON; Art Gallery of Alberta, Edmonton AB; MacKenzie Gallery, Regina SK; Art Gallery of Hamilton, Hamilton ON; Vereniging van Nederlandse Kunsthistorici, Saul in Story and Tradition (Series Forschungen Zum Alten Testament), Netherlands Yearbook for History of Art vol. Imperial Eyes: Travel Writing and Transculturation. In other words, the transnational dimension inherent in the concept of world cinema is constituted in the process of reception, as a film moves outside its own national sphere into another one. Translated and edited by Yal, Rachel Schlick. 100-116). Island Dreaming: The Contemplation of Polynesian Paradise. The fascinating story behind many people's favori Test your vocabulary with our 10-question quiz! The Assassin vibrant colours and painterly image compositions convey sensual pleasure. Ungarn Jahrbuch. The fact that nineteenth-century photographs of indigenous people wearing the clothes of their colonial masters now strike us as more exotic than early photographs of nonwesternized, indigenous communities reminds us that exotic fantasies entail a contrast of, and hierarchy between, two different cultures, controlled by the Western point of view. Offering Tales they Want to Hear: Transnational European Film Funding as Neo-Orientalism. 1640. Introduction. Hou reduces the customary fast-paced battle scenes, which are the genres main attraction, to just a few brief moments. Moreover, its transnational appeal is usually part of a deliberate strategy which non-Western filmmakers deploy to pander to the tastes and expectations of Western critics and audiences. In short, it turns cultural difference into a form of commodity fetishism. Definition of exoticism in the Definitions.net dictionary. Sight & Sound, February, p. 68. by Erik Hinterding and Jaco Rutgers, Rubens and the bird of paradise. But Chow goes one step further, suggesting that any form of cultural translation, whether it is ethnography or the kind of autoethnography underpinning exotic world cinema, is necessarily a form of distortion or even betrayal.3 Firstly, as the Italian expression Traduttore, traditore Translator, traitor implies, the task of translating is associated with the pejorative implication of infidelity (Chow, 1995: 183). To be sure, in addition to their visual allure, the exoticism of Raise the Red Lantern and several other of Zhangs films also rests on established narrative tropes, notably that of the exotic-erotic-enigmatic Asian woman, frequently represented as a concubine, geisha, prostitute or simply the suffering wife of a much older oppressive husband. They allow transnational audiences to domesticate the foreign by integrating it into the established aesthetic paradigm of exoticism, which has evolved over many centuries and has been made subservient to shifting ideological and political agendas. "Exoticism Review Captivatingly Hypnotic, If Impenetrable, Vanishing Paradise: Art and Exoticism in Colonial Tahiti, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema, Island Dreaming: The Contemplation of Polynesian Paradise, Realism of the Senses in World Cinema: The Experience of Physical Reality, Situating World Cinema as a Theoretical Problem, Remapping World Cinema: Identity, Culture and Politics in Film, Travelling Concepts: Postcolonial Approaches to Exoticism, Revisiting Exoticism: From Colonialism to Postcolonialism, Francophone Postcolonial Studies: A Critical Introduction, Global Art Cinema: New Theories and Histories, Offering Tales they Want to Hear: Transnational European Film Funding as Neo-Orientalism, The Postcolonial Exotic: Marketing the Margins, Third-World Literature in the Era of Multinational Capitalism, Transnational Chinese Cinemas: Identity, Nationhood, Gender, The Chinese Exotic: Modern Diasporic Femininity, Chinese Cinemas (18961996) and Transnational Film Studies, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Realist Cinema as World Cinema: Non-Cinema, Intermedial Passages, Total Cinema, Ethnic Food Fetishism, Whiteness, and Nostalgia in Recent Film and Television, Discovering Form, Inferring Meaning: New Cinemas and the Film Festival Circuit, Cultural Translation, Cosmopolitanism and the Void, Imperial Eyes: Travel Writing and Transculturation, The Third Eye: Race, Cinema and Ethnographic Spectacle, Essay on Exoticism: An Aesthetics of Diversity, Defence of Exoticism: Rescuing the Literary Imagination, New Exoticisms: Changing Patterns in the Construction of Otherness, The Assassin: Cannes Review. Ethnic Food Fetishism, Whiteness, and Nostalgia in Recent Film and Television. Rubensbulletin V (2014), pp. Identifying one of the most prevalent iconographic conventions of exoticism, Victor Segalen (2002: 13), one of the chief commentators on exoticism, writes: Exoticism is willingly tropical. 1630. Was Van Vliet involved in some of Rembrandt's own etchings? When the concepts and structure of the source text can be easily translated into the target language, direct translation techniques are usually used. The film was shot in the classic three-strip Technicolor process to achieve a richness of reds and yellows no longer visible in Hollywood cinema which abandoned the three-strip Technicolor camera in 1954. Eine historische Vergegenwrtigung. However, the date of retrieval is often important. Guha, Ranajit, ed. 316 0 obj The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Negra, Diane (2002). It will either spit back whatever it has as The Translation for the source text (in its collective memory), or it is going to use its algorithms to aggregate what it thinks is the safest translation, which I suspect will either be a 0 or a +2 (in that range). Sorry, preview is currently unavailable. When I was studying at university in Germany (Germersheim), my professors often emphasized this point. find that literal translation would result in awkward or unnatural translation. One of course can try to balance that. Paragraph 24 (3), pp. Exotismus in den Niederlanden der Fruhen Neuzeit, Exotica on the Move: Birds of Paradise in Early Modern Holland, Domesticating Goods from Overseas: Global Material Culture in the Early Modern Netherlands, Rembrandt and his Time - through Hungarian Eyes. 1995. "Exoticism Colonial Desire: Hybridity in Theory, Culture, and Race. London: I. a person, an institution, an animal, a plant etc.) ) |{)yQmiN,ax ,sT'NuX0%vV*8}i `Xus$LuY,mz@@^t\Dsw 1978. Screen, 16 (3), pp. Lost in Translation: Exoticism in Early Modern Holland Claudia Swan Whilecontent andlanguageformacertain unityinthe original,like afruit andits skin,the languageofthe translationenvelopsits content likearoyal robe with amplefolds.For it signifiesamoreexalted languagethan itsown andthusremains unsuited to itscontent, overpowering andalien. endobj Khoo, 2007: 6; Heung, 1997). The film premiered at the 1991 Venice Film Festival, where it won the Silver Lion and was subsequently nominated for the Academy Awards. Likewise, we only need to consider Apichatpong Weerasethakuls films, whose radical alterity makes them extremely enigmatic, if not utterly perplexing for global audiences, to appreciate that they lack two essential characteristics of exoticism: firstly, their extreme Otherness precludes domestication, that is, integration into a familiar system of aesthetic and conceptual reference points and, secondly, they are largely devoid of the visual and sensuous allure that is a hallmark of exotic cinema. Dennison and Lim, 2006: 2; Nagib, Perriam and Dudrah, 2012: xix). cat. Cultural translation denotes the transformative dynamic that is forged by the interaction of different cultures. London: Arnold, pp. Considering contemporary Chinese cinemas which, because of their regional dispersal across the Peoples Republic of China, Hong Kong, Taiwan and the Chinese diaspora, are widely regarded as a paradigmatic example of transnational cinema, Sheldon Hsiao-peng Lu (1997: 12) argues that, ironically, some films achieve transnational status precisely because they are seen as possessing an authentically national, Chinese, Oriental flavor by Western audiences. He was following in the footsteps of the painter Paul Gauguin, whose colourful paintings of semi-nude Polynesian women against the backdrop of lush tropical scenery have shaped the Western imagination of the Polynesian islands.