In 1978, Edward Said redefined Orientalism as a Western interpretation of the Middle East best characterized by an inherent cultural hostility. It’s essence, he declared, was the invariable distinction between Western superiority and Eastern inferiority. At the beginning of the twenty-first century, however, cultural critics Darrell Y. Hamamoto (2000), Vijay Prashad (2000), Jane Chi Hyun Park (2010), Jane Naomi Iwamura (2011), and David Weir (2011) have shed light on America’s long fascination with the Far East and more affirmative forms of Orientalism. Building on their work, I map developments of Far Orientalism on American screens at the turn of the century from an evolutionary perspective. In three case studies, I read audiovisual texts in their sociohistorical and media ecological contexts to trace representational shifts from the 1980s to the 2010s. Since the intersection of race and sex is significant for any discussion of Orientalism, I am mostly concerned with narratives featuring interracial romance. The first case study focuses on Michael Cimino’s crime thriller film Year of the Dragon (1985). My analysis is embedded in an examination of contemporary films related to the Vietnam War as well as the emergence of both the Model Minority myth and the redemption narrative. The next chapter is concerned largely with contextualizing Edward Zwick’s epic historical drama film The Last Samurai (2003) within the genre histories of both the American Western and the Japanese Eastern. These efforts culminate in investigations of the ways of how the film relates to the popularization of Buddhism and reworks the White Savior trope. The final case study offers an analysis of Ronald D. Moore’s science fiction television series Battlestar Galactica (2004-09) on the background of the rise of neoliberal economic policy and transhumanist philosophy as well as in relation to assimilation narratives and the genre history of cyberpunk. My research results demonstrate a trend from classic Orientalism to Techno-Orientalism, Spirito-Occidentalism, and outright Occidentalism. In the American imagination, I argue, East Asia has come to represent both the worst expression of modernity and the solution to its dehumanizing side. Neither have stereotypes been shattered nor has the geographical dualism been shed. Older fantasies merely have been complemented by more recent variations. I consider this study to be an extension of Said’s studies of Orientalism as well as a contribution to the fields of American cultural history, Asian American studies and, to a lesser extent, postcolonial studies, gender studies, and media studies.
