Orijentalizam, kineski okcidentalizam i rod: Narativ i reprezentacija u filmu Ljubavnik
Orientalism, Chinese Occidentalism and Gender: Narative and Representation in The Lover

Summary/Abstract: Based on Marguerite Duras's autobiographical novel, Jean-Jacques Annoud's film The Lover is the love story of a young and poor French girl and a middle -aged rich Chinese man in French Indochina (now Vietnam) during the 1930's. By analysing cinematographic descriptions through categories of race and gender, the author states that the selection of representative images in the film is exemplary celluloid orientalism where French Indochina (at the same time dominated by French political and Chinese economic power) has the role of the Other creating the oriental, as well as the occidental Self. The author also states that crossing of categories of gender, class and race leads to destabilisation of hierarchical relations between paradigmatically masculine Western Self and feminine non-Western Other, represented in mutuality and reciprocity within narrative and visual contouring of the relationship between the two main protagonists.

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