Glant, TiborAsztalos, Bernadett2013-06-052013-06-052009-04-142013-06-05http://hdl.handle.net/2437/170344The thesis can be divided into three main parts – Chapter 2 is giving a basis for detailed analysis by defining the term ‘Cinematic Orientalism’ and also giving a brief overview of the role of Orientalism in American society and moviemaking through relevant examples of earlier made movie classics; the main emphasis is put on three cultic characters of American movies, namely the figure of Fu Manchu, Charlie Chan and Mr. Moto. Chapter 3 is closely connected to the previous chapter, as it is dealing with the role of history in American film industry and how authentically filmmakers handle historical facts and how they reshape certain things in order to fulfill social expectations. The following two chapters are dealing with the depiction of Asian characters in American films, especially the ones that adapt the events of World War II military confrontations between the United States and Japan. In Chapter 4 the main focus is on the deteriorated demonic image of the Japanese, which shows the cruel, ruthless and brutal representation of the inscrutable Oriental. This negative depiction is put into contrast with the humanized picture of Asians, created several decades later by the Americans, in Chapter 5. Through this contrasting analysis we can have a full picture of the representation of Japanese in American war movies from the 1940s till nowadays.46enorientalismJapanesePearl HarbordiplomamunkaDEENK Témalista::Történelemtudomány::Egyetemes történetip