Postcolonial Perspectives in a Globalized World: Reading Resistance, Identity, and Representation through Film
Postcolonial Perspectives in a Globalized World: Reading Resistance, Identity, and Representation through Film
Edward Said On Orientalism
Globalisation reshaping postcolonial identities:-
This article by Dr. Dilip Barad “Globalisation and the Future of Postcolonial Studies”, explores the intersection of globalisation and postcolonial studies, focusing on key events like 9/11, the rise of the New American Empire, and the Global War on Terror. It argues that globalisation is reshaping traditional postcolonial frameworks, emphasising the need for scholars to adapt by considering new concepts such as transnational networks, fluid identities, and the dissolution of geographic boundaries. Key scholars, including Thomas Friedman and Joseph Stiglitz, are discussed, along with critiques of globalisation’s impact on inequality and global governance. The article also addresses the role of higher education, the challenges posed by Market Fundamentalism, and the significance of the Fourth Industrial Revolution in shaping the future of global interactions. Additionally, the work highlights the importance of preserving dissent and critical inquiry in academic environments amidst political and corporate pressures.
Through this article, we understand how global capitalism can reinforce colonial-era patterns of exploitation and cultural dominance.
Global capitalism often perpetuates economic dependencies established during colonial times. Many postcolonial nations remain reliant on foreign investment and export-oriented economies, which can make them vulnerable to global market fluctuations. Moreover, the spread of global brands, media, and consumer culture can lead to a degree of cultural homogenization. This process, often termed "McDonaldization" or "Coca-Colonization," can erode local cultural practices and traditions. Multinational corporations often seek cheap labor in postcolonial countries which can lead to exploitation of the people living there.
The examples of this can be seen in movies and books like "The Reluctant Fundamentalist" by Mohsin Hamid and "The Namesake" by Jhumpa Lahiri.
“The Reluctant Fundamentalist” (the novel and its film adaptation), examines the shifting identities of a Pakistani man in America before and after 9/11. This directly relates to the article's emphasis on how the 9/11 phenomenon reshaped global dynamics and perceptions.
"The Namesake" novel (also adapted into a film) explores the experiences of Indian immigrants in America and their children, touching on themes of cultural dislocation and identity formation that align with the article's discussion of postcolonial identities in a globalised world.
Globalization and Fiction
POSTCOLONIAL STUDIES IN THE ANTHROPOCENE: BRIDGING PERSPECTIVES FOR A SUSTAINABLE FUTURE
Trading economics shared the chart of the exportation of the Dairy products of India.
Maoists are fighting against both the mining companies and the government. They want to protect the land and the rights of the people who live there.Arundhati Roy says that these tribal people have been fighting for their land for a very long time, even before the Maoists came along.
This article, "Heroes or Hegemons? The Celluloid Empire of Rambo and Bond in America's Geopolitical Narrative" by Dr. Dilip Barad examines how Hollywood films, particularly the “Rambo” and “James Bond” franchises project American dominance and shape global perceptions of U.S. hegemony. These films often reinforce narratives that align with U.S. geopolitical interests, particularly during the Cold War and the era of globalisation.
Films like “Rambo” Franchise depict the U.S. as morally justified in its military actions. In “Rambo: First Blood Part II”, the Vietnam War is revisited with a narrative that suggests the U.S. seeks redemption for past failures, framing American soldiers as heroes despite their government's betrayal. In “Rambo III”, Rambo supports the Mujahideen against the Soviet Union, aligning with U.S. policies during the Soviet-Afghan War. These narratives portray the U.S. as a global liberator, fighting against the evils of communism and other threats.
The “James Bond” series, while a British creation, often aligns with Western, particularly American, geopolitical interests. For example, “The Living Daylights” features Bond assisting Afghan rebels, similar to Rambo's role in “Rambo III”. Through widespread distribution, these films propagate American values and perspectives globally, subtly influencing audiences to view the U.S. and its allies as defenders of freedom and democracy.
The success of these franchises also highlights America's dominance in global entertainment, contributing to cultural and economic hegemony. Hollywood's ability to craft compelling narratives that resonate globally has solidified its role as a tool of soft power, shaping perceptions of American power and legitimacy worldwide.
(Barad)
From a postcolonial perspective, these films can be critiqued for reinforcing hegemonic narratives that marginalise non-Western perspectives. They often portray the U.S. and its allies as the moral centre of global conflicts, with other nations and peoples depicted as either villains or needing rescue. This perpetuates a binary of Western superiority versus non-Western inferiority, overlooking the complexities of global power dynamics and the agency of other nations. Additionally, the focus on American redemption and heroism in films like “Rambo” ignores the broader historical and geopolitical contexts, such as the impact of U.S. interventions on the countries involved. The simplistic portrayal of these conflicts as battles between good (the U.S.) and evil (communism, terrorism) reinforces a worldview that legitimises American dominance.
“Indiana Jones” movies are another example where Hollywood films project American dominance and reinforce hegemonic ideals, often aligning with U.S. geopolitical narratives.
Throughout the series, Indiana Jones often seeks to recover ancient artifacts from non-Western cultures, which are depicted as needing protection from either corrupt forces or local authorities who are seen as unworthy or incapable of safeguarding their own heritage. This reflects a colonial mindset where Western characters are portrayed as the rightful protectors of global cultural heritage, implying a kind of cultural superiority.
These films often position their hero against global threats that align with historical American adversaries, particularly the Nazis and, later, the Soviets. In “Raiders of the Lost Ark” and “Indiana Jones and the Last Crusade”, Indiana Jones battles Nazi forces, aligning with the broader Western narrative of World War II where the U.S. is portrayed as a liberating force against fascism. In “Indiana Jones and the Kingdom of the Crystal Skull”, the enemy shifts to Soviet agents, reflecting Cold War anxieties.
These films often portray non-Western cultures in a simplistic and exorcized manner, feeding into Orientalist stereotypes. These cultures are frequently depicted as mysterious, dangerous, or backward, with Indiana Jones serving as the enlightened Westerner who navigates these worlds with superior knowledge and skill. This can be seen in “Indiana Jones and the Temple of Doom”, where Indian culture is depicted through a lens of dark mysticism and savagery, reinforcing negative stereotypes.
This series, like other Hollywood films, perpetuates American hegemonic ideals by portraying an American hero who not only survives but thrives in foreign lands, often at the expense of local cultures. The films reinforce notions of American cultural and moral superiority, while their depiction of non-Western societies reflects and perpetuates colonialist attitudes. From a postcolonial perspective, these narratives can be critiqued for their simplistic portrayal of global cultures and for reinforcing a worldview that privileges Western dominance over others.
References:
Bahukhandi, Prem. “Joshimath crisis is a warning from the Himalayas.” Down To Earth, 19 January 2023, https://www.downtoearth.org.in/urbanisation/joshimath-crisis-is-a-warning-from-the-himalayas-87229.
Barad, Dilip. “GLOBALIZATION AND THE FUTURE OF POSTCOLONIAL STUDIES.” researchgate.net, ResearchGate, October 2022, https://www.researchgate.net/publication/376374570_GLOBALIZATION_AND_THE_FUTURE_OF_POSTCOLONIAL_STUDIES.
Barad, Dilip. “POSTCOLONIAL STUDIES IN THE ANTHROPOCENE: BRIDGING PERSPECTIVES FOR A SUSTAINABLE FUTURE” researchgate.net, https://www.researchgate.net/publication/376374708_POSTCOLONIAL_STUDIES_IN_THE_ANTHROPOCENE_BRIDGING_PERSPECTIVES_FOR_A_SUSTAINABLE_FUTURE.
Barad, Dilip. “Heroes or Hegemons? The Celluloid Empire of Rambo and Bond in America's Geopolitical Narrative:, researchgate.net, https://www.researchgate.net/publication/383415195_Heroes_or_Hegemons_The_Celluloid_Empire_of_Rambo_and_Bond_in_America's_Geopolitical_Narrative.
Barad, Dilip. “Reimagining Resistance: The Appropriation of Tribal Heroes in Rajamouli's RRR”, researchgate.net, https://www.researchgate.net/publication/383603395_Reimagining_Resistance_The_Appropriation_of_Tribal_Heroes_in_Rajamouli's_RRR.
Barad, Dilip. “GLOBALIZATION AND FICTION: EXPLORING POSTCOLONIAL CRITIQUE AND LITERARY REPRESENTATIONS”, researchgate.net, https://www.researchgate.net/publication/376371617_GLOBALIZATION_AND_FICTION_EXPLORING_POSTCOLONIAL_CRITIQUE_AND_LITERARY_REPRESENTATIONS.
Nitnaware, Himanshu. “Activists allege thousands of trees felled in Hasdeo for coal mining.” Down To Earth, 4 January 2024, https://www.downtoearth.org.in/forests/activists-allege-thousands-of-trees-felled-in-hasdeo-for-coal-mining-93718.











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