The ‘Other’ is for the ‘Self’ A Contrastive Analysis on the representation of the Hetero-Image of the Middle East as an instrument to Present the Auto-Image of the U.S in Aladdin (1992) & Aladdin (2019)

Abstract

Due to the increased (re)production of Disney classics in live-action format, this study compares the representation of the Middle Eastern culture in the Aladdin (1992) animated film and its 2019 liveaction remake. Using an imagological approach, this research improves the understanding of how the representation of the ‘other’ (i.e. hetero-image) might be used to generate and support a positive representation of the ‘self’ (i.e. the auto-image) in Disney films that exclusively show the ‘other’. The inquiry of this thesis is as follows: how are subtle distinctions in appearance, behaviour, and language traits used to promote a favourable self-image to the Disney audience. In order to address the research question, this research looks at how Arabic culture is portrayed in Disney's Aladdin where the heroes are supposed to reflect ideals that the American spectator can identify with and distance themselves away from the Middle East. Unlike other studies that have focused on the Arab as the ‘other’, this one claims that the Arab is also the ‘self’. Therefore, this study employed a content analysis focusing on the appearance, behaviour, values and language use of different characters in the two versions of Aladdin. This research reveals that Disney has made a significant attempt in the linguistic and physical features of its characters, but not in the behavioural and moral aspects of their films. The hetero-image is maintained through the slight (residual) contrasts between the protagonists and supporting characters.