勇敢，智慧，坚毅，爱有多重呢？就是一根小小的羽毛。 当因害怕战争而辞职之时，父亲与其断绝关系，无法面对爱人，好友已踏入战场......生活已然地覆天翻。他仍然胆怯，依旧恐惧。”你横穿整个沙漠，却说你害怕面对朋友，那你来沙漠干嘛?","To help, if I can"。他不是为了荣誉，梦想，光荣而来，是为了”stand by your left","stand by your right"的朋友，为了逃避艾萨林的爱。 ———————— 留给第二遍再续。
Seize the day, to make a difference, to make yourself somebody!
Colonial discourse, such as cinema, increases the possibility of the colonizing white men’s social identities, while it strips away black people’s social identity. White colonizers have the option of “going native” when donning brownface, such as in the case of Harry Feversham in The Four Feathers and both the historical and fictional Sir Lawrence. Both ventures were dangerous and Lawrence did not achieve certain goals he set out to achieve. Rendered in colonial cinema and imperial histories, Lawrence and Feversham’s stories highlighted the possibility that brownface and adventure were included in one’s service to the British empire. One of the posters for Lawrence of Arabia that darkened Lawrence’s face demonstrated the filmmaker’s consciousness of the use of brownface as a marketing tool for western audiences (appendix 1).
The historical Lawrence highlighted the practicality of wearing “native” robes, one of which was auctioned for six-figures in Britain, 2016.[1] He circumscribed his dress code to the desert, implicitly suggesting that any (British) man can adapt to colonial environs:
If I wore Meccan clothes, [the Arabs] would behave to me as though I were really one of the leaders; and I might slip in and out of Feisal’s tent without making a sensation which he had to explain away each time to strangers. I agreed at once, very gladly; for army uniform was abominable when camel-riding or when sitting on the ground; and the Arab things…were cleaner and more decent in the desert.[2]
The litmus test for brownface or truly going native usually was conversion to the “native” faith or intermarriage. Intermarriage was once allowed for British colonists in India. Later, in the nineteenth century, it was seen as a corrupting influence.[3] Nineteenth-century colonial discourse marked the turn toward white supremacy, with examples such as Louis Agassiz’s “scientific” theory of racial hierarchies. Cinema in the twentieth century also played a role in such white supremacist ideologies. While Adolf Friedrich, the Duke of Mecklenburg, referred to Congo as "the dark corner of the world" in the 1910s,[4] the association between Africa and darkness in colonial metropoles only became accentuated with the rise of film and other visual modes. Recent research has shown how photography was developed with light skin-color as the main reference, which rendered black faces less photogenic.[5] Anxieties of interracial intimacies were also explored in American films as well, such as The Birth of a Nation. The mulatto woman, who was also a mixed-race actress, exhibited uncontrollable lust, which contrasted the “pure” white female character who died. The slaves who perform for their white masters and guests in the film seem to enjoy bliss and innocence in their break. Yet one learns that even the “leisure” plantation songs were monitored by the slave masters for production or used as a method to disavow the pains of slavery.[6] Under the seeming nonsensical songs, historians have uncovered unsayable truths and the horrors of slavery.[7]
Slavery, the character Feversham and the historical Sir Lawrence may seem distant for some. A common rejoinder for discussions of slavery in America is “why can’t you get over it?”[8] Perhaps this type of defensive reactions prompted scholar Paul Gilroy to call for mourning of an empire.[9] He drew connections between British lasting imperial ambitions with “wigger” Rastafarians in Britain post-1970s. He also wrote on the white convert John Walker Lindh: "The idea of contamination by Blackness is an old script. It qualifies his image as a traitor with layers of psychological confusion."[10] Similarly, for literary scholar Sharmila Sen, the British colonizers’ use of brownface affected her even in the late twentieth century. She explored the consequences of male colonizers’ brownface for actual brown immigrants in her autobiography Not Quite Not White. She realized that the white man’s social identity expands when he masquerades as an Indian or Arab “native” in colonies. His fluency in “native culture” demonstrates how he is never totally corruptible despite his ease in other roles and masks. Yet for Sen, the social roles she can inhabit are thus further limited. In America, she finds herself playing the brown person in a white person’s understanding of a brown person.
In contrast to the white colonizer in the Four Feathers film, the Mahdist soldiers or the black slave/servants of masters of the Anglo-Egyptian side rarely have substantive lines. Arab characters may speak in Lawrence of Arabia, perhaps for their relative status on the colonial racial hierarchy.[11] Perhaps precisely because of this accepted hierarchy, slavery continued under other names in Sudan decades after the Anglo-Egyptian conquest and calls for abolition. Inspector general of Sudan at the time, C. A. Willis, owned slaves and did not see abolition as a viable solution.[12] The British thus did not change the predominantly agricultural economy and thought that total abolition would lead to economic collapse, vagrancy, and prostitution.[13] While the exotic lands provided a space for white men to explore their hetero- or homosexuality,[14] slavery continued in the name of colonial social order.
While racial hierarchies can be read as colonial ideologies, material consequences were always accompanying these processes. Slave labor served as a trade-in for West Africa’s consumption of goods from the British Empire and gradual integration into the world economy. The British later entered East Africa and attempted to organize a different economy in their abolitionist vision. In the late eighteenth century, Zanzibar as a port witnessed an increased demand for slavery in British colonies. It is important to note that the Arabic geographical term “Bilad-al-Sudan” means the land of the black. Furthermore, “Zanzibar” is a compound of Zang (زنگ, "black") + bâr (بار, "coast").[15] “Zang” or “Zanj” is also an Arabic/Farsi colloquial term for slave.[16] Many Arabs captured slaves in Zanzibar, despite Islamic rulings against any method of enslavement other than captives of war.[17] The British soldiers’ enslavement and Feversham’s dramatic release of the “enslaved” population in Sudan served as the climax in the Four Feathers. Yet the euphoria of humanistic liberation is imbued with politics: Feversham’s subsequent installment of the Union Jack flag demonstrate the varied ways imperialism claims both humanism and hegemony. This depiction oddly foreshadowed the later critiques of human rights and imperialism in postcolonial non-Western countries.
Slavery is not only an economic institution; it also eradicated slaves’ former social relations. While there were some opportunities for social mobility in North Africa and South Asia,[18] in North America, slaves often lost their name and were forbidden to practice their original religion.[19] Marriage offered female slaves some upward mobility in South Asia within their lifetimes.[20] In contrast, marriage among slaves in North America was often facilitated for labor reproduction rather than a sustainable kinship network. Many American films on race similarly emphasize the ties between white and black characters, while underserving the social relations between people of color. Scholars Amira Jarmakani and Hsu-Ming Teo similarly studied the paradoxically large amount of Anglo-American romantic novels that depict white women falling in love with an Arab alpha-male, despite the racialization and dehumanization of Arabs and Muslims in the news media.[21] Jarmakani argued that the novels fit the trend of American culture disavowing the connection between race and sexuality. Hartman similarly observed that the perceived “promiscuous” sexuality of black female slaves was used in courts as a way to absolve the white master of rape.[22]
Comfortingly, there are more English novels now that explore romance among Muslims that disavow the white gaze as well as shows that embrace transnational blackness, or what cultural theorist and politician Léopold Sédar Senghor called “Négritude.”[23] A new Hulu production Ramy will similarly explore the mistrials of a young Muslim man in America. Still, these are small exceptions in face of longstanding cinematic traditions of colonialism. More often than not, the Chinaman remains confined within the cook character portrayed in the film King Kong. He volunteered to save “Missy” but was dismissed on the grounds of his “inferior” masculinity.
In conclusion, this paper has shown how the social roles of white men are particularly variegated under the auspices of colonial conquest. He can be white as a lily or brown as Lawrence-in-robes, depending on his fancies and finances. In contrast, people of colonized backgrounds find it difficult to venture beyond their designated boxes of race or “culture.” Even when men of color may find more room now to explore their idiosyncrasies, such as the South Asian male character in The Big Sick, women of color still have relatively limited roles.[24] This phenomenon is intimately connected to the legacies of slavery and colonialism that indoctrinates certain logics of heterosexuality and racial boundaries. Historian Deborah Gray White discovered that in nearly a century after slaves were freed, not a single Southern white man was convicted of sexual assault against a black woman.[25] Black women continue to be sexualized and are often deemed as passive in violent sexual encounters.[26] While Gilroy is hopeful that multiculturalism is the answer to such colonial legacies, the geographical and material consequences of slavery and British imperialism still live on in sites such as blackface festivals in Europe, in the music of African Americans, as well as agricultural production of Zanzibar and Sudan.
Professor’s feedback on paper: Diverse use of sources across discipline that say different things. Evident benefits from training at ***** Uni. Creative amalgamation.
Unclear in the parts about Zanzibar and Sudan.
[1] Cooper, Charlie. 2016. "Lawrence Of Arabia’s Robes And Dagger Are Set To Be Saved For The Nation". The Independent. https://www.independent.co.uk/news/uk/home-news/te-lawrence-of-arabia-robes-dagger-saved-temporary-export-bar-buyer-a7012031.html.
[2] Lawrence, T. E. 2016. Seven Pillars Of Wisdom. Lanham: Dancing Unicorn Books.
[3] Stoler, Ann Laura. 2010. Carnal Knowledge And Imperial Power. Berkeley: University of California Press.
[4] Friedrich, Adolf. 1913. From The Congo To The Niger And The Nile, An Account Of The German Central African Expedition Of 1910-1911. London: Duckworth & Co.
[5] Caswell, Estelle. 2015. "Color film was built for white people. Here's what it did to dark skin." Vox. https://www.vox.com/2015/9/18/9348821/photography-race-bias.
[6] Hartman, Saidiya V. 1997. Scenes Of Subjection. New York: Oxford Univ. Press. 36. “For those forced to step it up lively, the festivity of the trade and the pageantry of the coffle were intended to shroud the violence of the market and deny the sorrow of those sold and their families... Th terms of this disavowal are something like: No, the slave is not in pain. Pain isn't really pain for the enslaved, because of their limited sentience, tendency to forget, and easily consolable grief. As a consequence of this operation, the initial revulsion and horror induced by the sight of shackled and manacled bodies gives way to reassurances about black pleasure.”
[7] Ibid. 35.
[8] Morgan, Danielle. 2017. "Stop Telling Me To Get Over Slavery...". Aljazeera.Com. https://www.aljazeera.com/indepth/opinion/2017/08/stop-telling-slavery-170817061717353.html.
[11] For example, Arabs were often seen as the natural masters of black slaves by the British colonial authorities in Sudan.
[12] Sikainga, A. 2014. Slaves into Workers. Austin, TX: University of Texas Press
[13] Ibid. 37.
[14] Massad, Joseph. Desiring Arabs. 2007. University of Chicago Press.
[15] Burton, Richard Francis. 2010 [1860]. The Lake Regions Of Central Africa. New York: Cosimo. 38.
[16] Sheriff, Abdul. 2018. "The Zanj Rebellion And The Transition From Plantation To Military Slavery". Comparative Studies Of South Asia, Africa And The Middle East 38 (2): 246-260. doi:10.1215/1089201x-6982029.
[17] Suzuki, Hideaki. 2017. Slave Trade Profiteers In The Western Indian Ocean. Palgrave Macmillan.
[18] Chatterjee, Indrani. 2018. "Afro-Asian Capital And Its Dissolution". Comparative Studies Of South Asia, Africa And The Middle East 38 (2): 310-329. doi:10.1215/1089201x-6982073.
Sikainga, A. 2014. Slaves into Workers. Austin, TX: University of Texas Press. 120.
[19] Hartman, Saidiya V. 2007. Lose Your Mother. New York: Farrar, Straus and Giroux.
[20] Chatterjee, Indrani, and Richard Maxwell Eaton. 2007. Slavery And South Asian History. Bloomington: Indiana University Press. 10.
[21] Jarmakani, Amira. 2015. An Imperialist Love Story. New York: NYU Press.
Teo, Hsu-Ming. 2012. Desert Passions. Austin: University of Texas Press.
[22] Hartman, Saidiya V. 1997. Scenes Of Subjection. New York: Oxford Univ. Press. 85.
[23] Abdullah-Poulos, Layla. 2018. "The Stable Muslim Love Triangle – Triangular Desire in African American Muslim Romance Fiction." Journal of Popular Romance Studies vol. 8.
Porter, Lavelle. 2018. "Teddy Told The Truth: Atlanta And The Pain Of Black Music". The Over-Educated Negro. https://lavelleporter.com/2018/05/15/teddy-told-the-truth/.
[24] Siddiquee, Imran. 2017. “Why Are Brown Men So Infatuated with White Women Onscreen?” Buzzfeednews.Com. https://www.buzzfeednews.com/article/imransiddiquee/why-are-brown-men-so-infatuated-with-white-women-onscreen.
[25] White, Deborah Gray. 1999. Ar’n’t I a Woman? W. W. Norton & Company.
[26] León, Felice. 2019. The Grapevine. "Why Do We Silence Black Girls and Women Who are Survivors of Sexual Violence?" https://thegrapevine.theroot.com/why-do-we-silence-black-girls-and-women-who-are-survivo-1831687459.
Harry suddenly resigns from his regime on the eve of departure to Egypt, saying that he is needed more at home than abroad, but his three comrades suspected him of cowardice, and send him three white feathers with their cards attached. When harry goes to explain his actions to Ethne he his fiancés, Doctor Satton, an old friend finds that, she too, does not understand and she plucked the white feather from her fan to make four.
一个烧脑的好作品，足够考验每个人思想的深度，这主要得自于原著作者的灵魂高度。首先应该了解大英帝国的武力扩张的历史，一部血淋淋，践踏着大半个地球贫弱民族（其中包括中国）侵略成性的血腥历史，是以他人的屈辱换来大英帝国的无限荣耀。作品虽然表面虽然是已主人公以不畏生死以求证实自己的尊严，但更深的内涵更在于表明非正义的侵略行径不但是有违人类社会的基本道义和发展趋势（大英帝国VS苏丹马赫迪王国势力悬殊的战争最终以英国惨败告终就是很好的证明），也是以牺牲普通英国民众的个人幸福为代价。国家的利益之上，最终应该以正当道义为准绳（譬如我们的抗美援朝）。侵略和压迫其它民族，换取的只不过是大英帝国统治阶级的利益。而其中授予军人的荣耀，不过是为其卑鄙自私的丑行盖上一块光彩的遮羞布而已。所以，原著作者的真实内涵足够深。只要我们对自己提下这样一个问题，主人公为何决意辞去军职？片中已经表明不是为了未婚妻在一起的个人幸福，也不是他真的贪生怕死，否则就不会有后续的独自出生入死的经历。这不单只是自身求得道德救赎，坚持自己价值选择，更是对大英帝国所谓荣光的本质怀疑。历史终究说明了一切，大英帝国的荣光不在，以强凌弱不是作者内心那个万能的上帝的旨意，人类的尊严和荣耀终究要来自自身内心的良知！
1
什么是4根羽毛？
按照片中的定义，当别人要骂我们是懦夫，他们就会给我们献上白色的羽毛。白色羽毛是懦夫的象征。男主从小就被警告。封建家长说在英国，胆小鬼是没有地位的。
什么是羽毛呢？就是别人给我们设定的自我。就是100年前大英帝国的意识形态。就是英伦自我的幻象，叠加在所有人身上的压力（父亲提到威明顿家的小儿子最后开枪自杀了）。用拉康式的语言来说，我们对自己的幻想越深，我们就越远离本，我而沉醉在深深的谎言之中。
片中很多人都生活在谎言里。男主的岳父天天吹嘘着自己在战场上的勇敢，事实上他是糊里糊涂的战争，按照别人的标准活着，并且做一天和尚撞一天钟。主角的几个同僚，特别是理查德森扮演的瞎眼的那个，那也是完全自欺欺人的家伙。他当然充当着主角的参照物。
也促使我们更深的思考了什么是大英帝国的幻想，什么是殖民主义，什么是白日梦？什么是国家宣传机器？什么是大国理想下的自我？
思考之余，你会发现这部影片完成了一个奇迹。他既是在二战时期的书写（原著是1902年的），他提出了根本性的问题，但是他又以英雄主义的自我，完成了一种个人选择，超越了前面讲的所有状态。他成了超级英雄，让人看的血脉崩张。我现在还记得我数年前第1次看的时候，写下了一首古体长诗！所以本质上又是战争的宣传片。如此兼具宣传片又是哲学片的电影，在世界历史当中简直罕见。我所能举出来的也是东欧人拍的，山的那一边吧。
在国家和他人眼光的超级压力之下，一个人如何作出选择？男主没有选择大多数人的选择，直接去当兵，建功立业，场上杀敌。他选择以自己的角度上战场。完全是游侠骑兵的状态。我们能想到的特例，也只有阿拉伯的劳伦斯了。
这部伟大的电影同样，有人一辈子骂劳伦斯是懦夫。还有人说他是伟人。这就是英国片最深沉的地方，一边自我怀疑，一边自我突破。n2
音乐风格很斯特拉文斯基。在第1场大戏中也不乏军队弦乐队的演出，还有草莓冰呢。 Strawberry ice是我们说的冰激凌吗？
红色的军官制服很好看，是血红色的，然后满是金扣子，领子上还有一抹黑色。袖口的糖三角形也很提神。最重要的是束腰皮带是白色制成的，中间是个环形的金属带头。
但是行军的队伍当中，我们看到军服是屎黄色的。但是仍然是白色的皮带。头盔有点小鬼子的类型。有红与黑的小型装饰片环绕着。仍然是金扣子。但到了日射病的片段，他穿的皮带却是棕色的，那是在第48分钟。
这些东西都变成了大英帝国的表象。那个骄傲的在非洲中国印度驰骋的大英帝国，牢牢的攥紧拳头，抓握着殖民地的权利。至少当时在1885年卡土木失利就是这样，10年后哈利去参军也是这样。然后哈利根本不相信这些鬼扯，他宁愿把时间花在和自己的妻子相处身上，所以带来了周遭的眼光。甚至岳父都不认他，妻子鄙视他。但是苏顿医生能理解。虽然哈利一点都不开心。
Suakim。尼罗河上唱响了纤夫的歌。他们拉的居然是蒸汽船。 That's where the Kahalifa's army of dervishes and fuzzy Wuzzies on the Nile.
黑夜中的备战。是他拒绝了自己的好友以后，他们已经在乌木多尔曼了Omdurman。
勇敢，智慧，坚毅，爱有多重呢？就是一根小小的羽毛。
当因害怕战争而辞职之时，父亲与其断绝关系，无法面对爱人，好友已踏入战场......生活已然地覆天翻。他仍然胆怯，依旧恐惧。”你横穿整个沙漠，却说你害怕面对朋友，那你来沙漠干嘛?","To help, if I can"。他不是为了荣誉，梦想，光荣而来，是为了”stand by your left","stand by your right"的朋友，为了逃避艾萨林的爱。
————————
留给第二遍再续。
Seize the day, to make a difference, to make yourself somebody!
Colonial discourse, such as cinema, increases the possibility of the colonizing white men’s social identities, while it strips away black people’s social identity. White colonizers have the option of “going native” when donning brownface, such as in the case of Harry Feversham in The Four Feathers and both the historical and fictional Sir Lawrence. Both ventures were dangerous and Lawrence did not achieve certain goals he set out to achieve. Rendered in colonial cinema and imperial histories, Lawrence and Feversham’s stories highlighted the possibility that brownface and adventure were included in one’s service to the British empire. One of the posters for Lawrence of Arabia that darkened Lawrence’s face demonstrated the filmmaker’s consciousness of the use of brownface as a marketing tool for western audiences (appendix 1).
The historical Lawrence highlighted the practicality of wearing “native” robes, one of which was auctioned for six-figures in Britain, 2016.[1] He circumscribed his dress code to the desert, implicitly suggesting that any (British) man can adapt to colonial environs:
If I wore Meccan clothes, [the Arabs] would behave to me as though I were really one of the leaders; and I might slip in and out of Feisal’s tent without making a sensation which he had to explain away each time to strangers. I agreed at once, very gladly; for army uniform was abominable when camel-riding or when sitting on the ground; and the Arab things…were cleaner and more decent in the desert.[2]
The litmus test for brownface or truly going native usually was conversion to the “native” faith or intermarriage. Intermarriage was once allowed for British colonists in India. Later, in the nineteenth century, it was seen as a corrupting influence.[3] Nineteenth-century colonial discourse marked the turn toward white supremacy, with examples such as Louis Agassiz’s “scientific” theory of racial hierarchies. Cinema in the twentieth century also played a role in such white supremacist ideologies. While Adolf Friedrich, the Duke of Mecklenburg, referred to Congo as "the dark corner of the world" in the 1910s,[4] the association between Africa and darkness in colonial metropoles only became accentuated with the rise of film and other visual modes. Recent research has shown how photography was developed with light skin-color as the main reference, which rendered black faces less photogenic.[5] Anxieties of interracial intimacies were also explored in American films as well, such as The Birth of a Nation. The mulatto woman, who was also a mixed-race actress, exhibited uncontrollable lust, which contrasted the “pure” white female character who died. The slaves who perform for their white masters and guests in the film seem to enjoy bliss and innocence in their break. Yet one learns that even the “leisure” plantation songs were monitored by the slave masters for production or used as a method to disavow the pains of slavery.[6] Under the seeming nonsensical songs, historians have uncovered unsayable truths and the horrors of slavery.[7]
Slavery, the character Feversham and the historical Sir Lawrence may seem distant for some. A common rejoinder for discussions of slavery in America is “why can’t you get over it?”[8] Perhaps this type of defensive reactions prompted scholar Paul Gilroy to call for mourning of an empire.[9] He drew connections between British lasting imperial ambitions with “wigger” Rastafarians in Britain post-1970s. He also wrote on the white convert John Walker Lindh: "The idea of contamination by Blackness is an old script. It qualifies his image as a traitor with layers of psychological confusion."[10] Similarly, for literary scholar Sharmila Sen, the British colonizers’ use of brownface affected her even in the late twentieth century. She explored the consequences of male colonizers’ brownface for actual brown immigrants in her autobiography Not Quite Not White. She realized that the white man’s social identity expands when he masquerades as an Indian or Arab “native” in colonies. His fluency in “native culture” demonstrates how he is never totally corruptible despite his ease in other roles and masks. Yet for Sen, the social roles she can inhabit are thus further limited. In America, she finds herself playing the brown person in a white person’s understanding of a brown person.
In contrast to the white colonizer in the Four Feathers film, the Mahdist soldiers or the black slave/servants of masters of the Anglo-Egyptian side rarely have substantive lines. Arab characters may speak in Lawrence of Arabia, perhaps for their relative status on the colonial racial hierarchy.[11] Perhaps precisely because of this accepted hierarchy, slavery continued under other names in Sudan decades after the Anglo-Egyptian conquest and calls for abolition. Inspector general of Sudan at the time, C. A. Willis, owned slaves and did not see abolition as a viable solution.[12] The British thus did not change the predominantly agricultural economy and thought that total abolition would lead to economic collapse, vagrancy, and prostitution.[13] While the exotic lands provided a space for white men to explore their hetero- or homosexuality,[14] slavery continued in the name of colonial social order.
While racial hierarchies can be read as colonial ideologies, material consequences were always accompanying these processes. Slave labor served as a trade-in for West Africa’s consumption of goods from the British Empire and gradual integration into the world economy. The British later entered East Africa and attempted to organize a different economy in their abolitionist vision. In the late eighteenth century, Zanzibar as a port witnessed an increased demand for slavery in British colonies. It is important to note that the Arabic geographical term “Bilad-al-Sudan” means the land of the black. Furthermore, “Zanzibar” is a compound of Zang (زنگ, "black") + bâr (بار, "coast").[15] “Zang” or “Zanj” is also an Arabic/Farsi colloquial term for slave.[16] Many Arabs captured slaves in Zanzibar, despite Islamic rulings against any method of enslavement other than captives of war.[17] The British soldiers’ enslavement and Feversham’s dramatic release of the “enslaved” population in Sudan served as the climax in the Four Feathers. Yet the euphoria of humanistic liberation is imbued with politics: Feversham’s subsequent installment of the Union Jack flag demonstrate the varied ways imperialism claims both humanism and hegemony. This depiction oddly foreshadowed the later critiques of human rights and imperialism in postcolonial non-Western countries.
Slavery is not only an economic institution; it also eradicated slaves’ former social relations. While there were some opportunities for social mobility in North Africa and South Asia,[18] in North America, slaves often lost their name and were forbidden to practice their original religion.[19] Marriage offered female slaves some upward mobility in South Asia within their lifetimes.[20] In contrast, marriage among slaves in North America was often facilitated for labor reproduction rather than a sustainable kinship network. Many American films on race similarly emphasize the ties between white and black characters, while underserving the social relations between people of color. Scholars Amira Jarmakani and Hsu-Ming Teo similarly studied the paradoxically large amount of Anglo-American romantic novels that depict white women falling in love with an Arab alpha-male, despite the racialization and dehumanization of Arabs and Muslims in the news media.[21] Jarmakani argued that the novels fit the trend of American culture disavowing the connection between race and sexuality. Hartman similarly observed that the perceived “promiscuous” sexuality of black female slaves was used in courts as a way to absolve the white master of rape.[22]
Comfortingly, there are more English novels now that explore romance among Muslims that disavow the white gaze as well as shows that embrace transnational blackness, or what cultural theorist and politician Léopold Sédar Senghor called “Négritude.”[23] A new Hulu production Ramy will similarly explore the mistrials of a young Muslim man in America. Still, these are small exceptions in face of longstanding cinematic traditions of colonialism. More often than not, the Chinaman remains confined within the cook character portrayed in the film King Kong. He volunteered to save “Missy” but was dismissed on the grounds of his “inferior” masculinity.
In conclusion, this paper has shown how the social roles of white men are particularly variegated under the auspices of colonial conquest. He can be white as a lily or brown as Lawrence-in-robes, depending on his fancies and finances. In contrast, people of colonized backgrounds find it difficult to venture beyond their designated boxes of race or “culture.” Even when men of color may find more room now to explore their idiosyncrasies, such as the South Asian male character in The Big Sick, women of color still have relatively limited roles.[24] This phenomenon is intimately connected to the legacies of slavery and colonialism that indoctrinates certain logics of heterosexuality and racial boundaries. Historian Deborah Gray White discovered that in nearly a century after slaves were freed, not a single Southern white man was convicted of sexual assault against a black woman.[25] Black women continue to be sexualized and are often deemed as passive in violent sexual encounters.[26] While Gilroy is hopeful that multiculturalism is the answer to such colonial legacies, the geographical and material consequences of slavery and British imperialism still live on in sites such as blackface festivals in Europe, in the music of African Americans, as well as agricultural production of Zanzibar and Sudan.
Professor’s feedback on paper: Diverse use of sources across discipline that say different things. Evident benefits from training at ***** Uni. Creative amalgamation.
Unclear in the parts about Zanzibar and Sudan.
[1] Cooper, Charlie. 2016. "Lawrence Of Arabia’s Robes And Dagger Are Set To Be Saved For The Nation". The Independent. https://www.independent.co.uk/news/uk/home-news/te-lawrence-of-arabia-robes-dagger-saved-temporary-export-bar-buyer-a7012031.html.
[2] Lawrence, T. E. 2016. Seven Pillars Of Wisdom. Lanham: Dancing Unicorn Books.
[3] Stoler, Ann Laura. 2010. Carnal Knowledge And Imperial Power. Berkeley: University of California Press.
[4] Friedrich, Adolf. 1913. From The Congo To The Niger And The Nile, An Account Of The German Central African Expedition Of 1910-1911. London: Duckworth & Co.
[5] Caswell, Estelle. 2015. "Color film was built for white people. Here's what it did to dark skin." Vox. https://www.vox.com/2015/9/18/9348821/photography-race-bias.
[6] Hartman, Saidiya V. 1997. Scenes Of Subjection. New York: Oxford Univ. Press. 36. “For those forced to step it up lively, the festivity of the trade and the pageantry of the coffle were intended to shroud the violence of the market and deny the sorrow of those sold and their families... Th terms of this disavowal are something like: No, the slave is not in pain. Pain isn't really pain for the enslaved, because of their limited sentience, tendency to forget, and easily consolable grief. As a consequence of this operation, the initial revulsion and horror induced by the sight of shackled and manacled bodies gives way to reassurances about black pleasure.”
[7] Ibid. 35.
[8] Morgan, Danielle. 2017. "Stop Telling Me To Get Over Slavery...". Aljazeera.Com. https://www.aljazeera.com/indepth/opinion/2017/08/stop-telling-slavery-170817061717353.html.
[9] Gilroy, Paul. 2003. "Race Is Ordinary: Britain's Post-Colonial Melancholia". Philosophia Africana 6 (1): 31-45. doi:10.5840/philafricana20036113.
[10] Ibid. 42.
[11] For example, Arabs were often seen as the natural masters of black slaves by the British colonial authorities in Sudan.
[12] Sikainga, A. 2014. Slaves into Workers. Austin, TX: University of Texas Press
[13] Ibid. 37.
[14] Massad, Joseph. Desiring Arabs. 2007. University of Chicago Press.
[15] Burton, Richard Francis. 2010 [1860]. The Lake Regions Of Central Africa. New York: Cosimo. 38.
[16] Sheriff, Abdul. 2018. "The Zanj Rebellion And The Transition From Plantation To Military Slavery". Comparative Studies Of South Asia, Africa And The Middle East 38 (2): 246-260. doi:10.1215/1089201x-6982029.
[17] Suzuki, Hideaki. 2017. Slave Trade Profiteers In The Western Indian Ocean. Palgrave Macmillan.
[18] Chatterjee, Indrani. 2018. "Afro-Asian Capital And Its Dissolution". Comparative Studies Of South Asia, Africa And The Middle East 38 (2): 310-329. doi:10.1215/1089201x-6982073.
Sikainga, A. 2014. Slaves into Workers. Austin, TX: University of Texas Press. 120.
[19] Hartman, Saidiya V. 2007. Lose Your Mother. New York: Farrar, Straus and Giroux.
[20] Chatterjee, Indrani, and Richard Maxwell Eaton. 2007. Slavery And South Asian History. Bloomington: Indiana University Press. 10.
[21] Jarmakani, Amira. 2015. An Imperialist Love Story. New York: NYU Press.
Teo, Hsu-Ming. 2012. Desert Passions. Austin: University of Texas Press.
[22] Hartman, Saidiya V. 1997. Scenes Of Subjection. New York: Oxford Univ. Press. 85.
[23] Abdullah-Poulos, Layla. 2018. "The Stable Muslim Love Triangle – Triangular Desire in African American Muslim Romance Fiction." Journal of Popular Romance Studies vol. 8.
Porter, Lavelle. 2018. "Teddy Told The Truth: Atlanta And The Pain Of Black Music". The Over-Educated Negro. https://lavelleporter.com/2018/05/15/teddy-told-the-truth/.
[24] Siddiquee, Imran. 2017. “Why Are Brown Men So Infatuated with White Women Onscreen?” Buzzfeednews.Com. https://www.buzzfeednews.com/article/imransiddiquee/why-are-brown-men-so-infatuated-with-white-women-onscreen.
[25] White, Deborah Gray. 1999. Ar’n’t I a Woman? W. W. Norton & Company.
[26] León, Felice. 2019. The Grapevine. "Why Do We Silence Black Girls and Women Who are Survivors of Sexual Violence?" https://thegrapevine.theroot.com/why-do-we-silence-black-girls-and-women-who-are-survivo-1831687459.
1
哈瑞打小就在家里受夹板气，他当大元帅的爸爸就是看不上他，连个12岁生日都过不好，特别是听到了这句话： There is no place in England for a coward. War is war, men are men。
哈瑞不缺少独立的思想，他不愿意被洗脑，学一个侵略者侵入中国，苏丹，去当殖民地的走狗。他宁可当懦夫，在家里清醒的活着。
可是朋友们赠送给他的4根羽毛，说明他是懦夫，刺激他去完成任务。
2
在1902年梅森的小说原著当中，杜伦茨上尉就是受到基希纳将军的指派，把苏非教团吸引走引开，让英国大军能够渡过尼罗河。以前在这个地方我一直没看懂，杜伦茨上尉怎么眼睛突然瞎了呢？
看了原著才明白，那是在沙漠中间不适应导致的中暑sunstroke。
中暑，也称为太阳中风，是一种严重的疾病，导致体温超过40.0摄氏度（104.0华氏度）和精神错乱。其他症状包括皮肤发红、头痛，以及头晕。典型的中暑通常会出现出汗不足，而劳累性中暑通常会出现出汗。发病可能是突然或逐渐的。并发症可能包括癫痫发作、横纹肌溶解症或肾功能衰竭。
本片当中我们看到他也出汗，但是，已导致晕厥和最后的失明，是比较严重的症状。
3
很多讲苏菲教团Dervish的片段，还有尼罗河的风光，像伏尔加河上的纤夫一样的盛大场景，都让人想起阿拉伯的劳伦斯，这是一部史诗的架构，同时又有纪录片的真实。
真实也有负效应。他们坚持在晚上拍摄埃及人偷袭的场景，结果导致整个场面一塌糊涂，什么也看不清，曝光太低。
可能是按照真实时间拍的吗？
发生的时间可能就是假黎明。false morning
爱情仍然让瞎眼的杜伦茨上尉前进，就好像狗的前面吊着一根骨头。
化妆成Sangali的哈瑞，救了杜伦茨上尉。他是最英杰的男子，有漆身吞炭的坚忍能力，他完全可以到日本的北方去当一名忍者。
4发现
发现了民国时候在中国演出的海报，里面的故事梗概可以说是一篇林琴南写的小古文，铿锵有力。这是英文梗概，部分：
Harry suddenly resigns from his regime on the eve of departure to Egypt, saying that he is needed more at home than abroad, but his three comrades suspected him of cowardice, and send him three white feathers with their cards attached. When harry goes to explain his actions to Ethne he his fiancés, Doctor Satton, an old friend finds that, she too, does not understand and she plucked the white feather from her fan to make four.
可见完全是中国人自己写的故事梗概。但居然没有写到哈瑞前额火烫印的事！
这里又有两个问题，民国时候上演此片的时候，有没有中文配音呢？据说世界上最早的字幕是1968年香港才有，所以当时肯定不能用字幕。也许当时是在电台里灌好唱片，然后现场播放。如果现场有人同声传译的话，应该会影响效果。