Analysis #5: Orientalism

In Orientalism, Edward Said argues that orientalism founded itself in the idea of the West needing something to create itself against, ultimately creating the East as the "other." The Oriental is a single image, a stereotype that crosses countless cultural and national boundaries. Daisuke Nishihara, author of Said, Orientalism, and Japan, writes, "The Europeans defined themselves as the superior race compared to the orientals; and they justified their colonization by this concept. They said that it was their duty towards the world to civilize the uncivilized world. The main problem, however, arose when the Europeans started generalizing the attributes they associated with orientals, and started portraying these artificial characteristics associated with orientals in their western world through their scientific reports, literary work, and other media sources" (Nishihara 242). This concept is directly seen in Edward Zwick's film, The Last Samurai (2003), an epic drama film that was inspired by the story of Jules Brunet, a French army captain who fought alongside Enomoto Takeaki in the earlier Boshin War of 1868. Although the film did not seek to duplicate history, it may be argued to be the depiction of Said's idea of orientalism. 


The film begins in the summer of 1876, introducing Captain Nathan Algren, an ex-United States Army captain. Algren is ordered under the command of Lieutenant Colonel Bagley to train an army of peasants to take them into battle against a group of samurai rebels, as Algren later becomes their captive. The samurai rebels are introduced as savages, uncivilized, and in dire need of western colonization. Later in the film, the samurai are ultimately represented as the epitome of Said's argument as he states that the foundation of orientalism exists upon a group of stereotyped individuals without choice. Nishihara writes, "Has not the West as much to unlearn about the East as the East has to learn about the West?" (Nishihara 242). This concept is seen during Algren's captivity as the audience soon learns that it is in fact the Western culture that fits the characteristics of "savage" more precisely than the samurai. Algren learns that the foundation of the ways of the samurai rests upon order, respect, and peace, and is shocked to see that the stereotypes that have been placed on them are completely false. Despite Algren's status as a captive, he soon wins the samurais' respect and admiration as they accept him for his character rather than his American identity. Thus, the samurai ultimately appear more humane than the Westerners. 

The epitome of Said's idea and argument of orientalism is represented through the character of the Emperor. Although an emperor is defined to be a sovereign ruler of great power and rank, the emperor presented in Zwick's film is soft-spoken, meek, and extremely feminine. He is also seen to be dependent on others to make important decisions for him. Although the emperor appears to know what is right and what kind of decisions should be made, he is essentially used as Mr. Omura's puppet. It is not coincidental that Omura is a Japanese businessman who seeks to westernize the Japanese Imperial Army.   Thus, it may be argued that Zwick was influenced by Said's idea of orientalism as it is clearly shown in the representation of the differences between traditional and westernized Japanese people.


Works Cited
Nishihara, Daisuke. "Said, Orientalism, and Japan." Alif: Journal of Comparative Poetics 25 (2005): 242. JSTOR. Web. 4 May 2010.