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A comparative analysis of orientalism in one-thousand and one-night films
This dissertation delves into the study of Orientalist symbols within cinematic adaptations of One Thousand and One Nights, specifically focusing on the Disney animated film Aladdin. Employing a semiotic analysis of the movie, this research investigates the visual and cultural components that sustain Orientalist narratives, including the portrayal of the East as exotic, sensual, and uniform. The dissertation explores how the film constructs an enigmatic and alluring Arab realm, replete with belly dancers, genies, and enchanted flying carpets. Moreover, it examines the representation of Arab individuals as homogeneous and characterized by stereotypes, exemplified by the cunning and power-hungry sorcerer Jafar. The primary contention of this thesis posits that works like Aladdin, along with other adaptations of One Thousand and One Nights, contribute to the perpetuation of Orientalist narratives and the propagation of negative stereotypes concerning the Arab world and its people. By scrutinizing the film, this dissertation endeavors to enhance awareness regarding the perils associated with Orientalist discourse in media and popular culture, urging the promotion of more respectful and nuanced depictions of diverse cultures and societies.
Formal film analysis of the supernatural horror genre's cinematic conventions and techniques proper to the director James Wan through his Conjuring Universe
The supernatural horror film genre's popularity has always been unstable in the history of cinema due to the fact that it is dealing with scaring paranormal events and supernatural religious malefic figures such as the Devil, demons, ghosts or spirits and witches which can be difficult to reach a huge amount of audience in the world. However, this genre has gained more and more popularity in today's actual society with the Conjuring Universe of the post-modern director James Wan which is dealing with those supernatural malevolent creatures and even with exorcism ritual practice on them in order to survive from their evil manipulations. Although, these movie series were produced as entertainment films, it is interesting to analyze the artistical side of them. This paper provides guidelines for exploring the effective and repetitive visual film language and aesthetic features belonging to this supernatural horror movie series reflecting the director's specific filmmaking style. This thesis will focus on the formal film analysis of the supernatural horror genre's cinematic conventions and technique proper to the director James Wan through his Conjuring Universe by first introducing the emergence of the supernatural horror genre throughout the German Expressionism, the biography and the filmography of the director. Secondly, it will establish the formal analysis of his specific supernatural horror visual film language throughout its narrational structure with its protagonist and supernatural antagonist, mise-en-scène, cinematography, visual and finally sound editing proper to his cinematic conventions and techniques through his Conjuring Universe.