Throughout
history, the concept of the East has always fascinated the West
because of it's exotic goods for trade. Even when America was
discovered, the Spanish, French, and British were all looking for a
quicker route to access Asia and obtain spices and other trade
materials. Over time, Eastern cultures have fascinated the West in
various ways that go beyond products and into behaviors that exist
within society, including traditions and practices. Edward Said's
Orientalism discusses the high interest in the Orient by
Western society within the past; this interest has grown and
infiltrated popular culture, as seen in films such as Mulan.
Disney incorporates Western depictions of Chinese culture through the
actions of the main character Mulan. Her role in Chinese society
becomes an obstacle when attempting to find her identity and even
save her father from dying in war. The Chinese patriarchal culture is
depicted as getting in the way of Mulan's true identity while at the
same time questions whether or not a woman should follow the social
norms expected by family, community, and the government. In relation
to Said's writings, Mulan demonstrates the Western view of the Orient
as going beyond the geographical differences and into the issue of
sexuality and the role of women in Eastern society.
In
the film, Mulan's attempt to impress the matchmaker turns into
rejection and ultimately encourages her to discover herself by
joining the army; this incorporates the Eastern patriarchal
expectations of women in society as well as brings into question the
idea of a women in a male dominated field. According to ,
“'Finding oneself' is a modern American concept and a noble goal
from a western perspective, but one that conflicts with East Asian
perspectives regarding the more communal nature of the self.” (219)
Disney places the Western idea of finding oneself as a goal into a
culture that expects the individual to act in the interest of the
community. This incorporation of the two cultural traditions creates
a conflict for the character to overcome, and since the film ends
happily, it sends audiences the message that Western ideas can
infiltrate and dominate traditional Eastern practices. The film does
show features of China that accurately represent the country
geographically, such as images if The Great Wall, yet ultimately,
Mulan changes the accuracy of Chinese culture by acting more Western
in terms of identity.
Mulan's
role as a male-disguised female who joins the army is greatly
criticized by the other characters in the film, which reflects how
Western society interprets Eastern views of women in comparison to
men within their society. During the army training, the other male
soldiers make fun of Ping (Mulan's fake male name) by calling her a
girl in order to make her feel lower than them. According to Simone
de Beauvoir's, The Second Sex,
“humanity is male and man defines woman not in herself but as
relative to him; she is not regarded as an autonomous being.”
Mulan's role as a woman is only defined by her actions as relative to
the ideas of men. For instance, her father plays a dominant role in
her decision to fight in the army: it is important for Mulan to bring
honor to her family otherwise it will disappoint her father. Although
she desires to form an identity, she seeks to do so only in relation
the men in her culture. Even when Mulan speaks out about her wishes
to have her father not be drafted, the officer who hears her plea
tells her to keep quiet in the presence of a man. Again, the film
depicts Eastern culture not only for it's location and customs, but
it also reflects the struggles between the sexes, especially for
women.
Although
Mulan's feminine role in the film is influenced by Chinese
traditional culture, it manages to satisfy Western ideals through
making a connection between politics and Orientalism, which
ultimately reduces the value of Eastern traditions. According to
Crystal S. Anderson, “A
transnational feminist lens comes more to bear in the discussion of
Disney’s treatment of Mulan...[she] sacrifices elements central to
her character in the Chinese source material, such as seeking
justice, in order to appeal to a global audience.” Mulan's actions
reflect not only the constraints of Chinese culture onto women, but
it also incorporates a desire to “seek justice” in order to
appeal to men and women of different ages and cultures. This
“transnational feminist lens” allows Westerners to view the
Orient in a way that is relatable, not just different and exciting.
Yet, the attempt to make Mulan universally relatable, strips away the
realistic aspects of a woman's role in Chinese culture, altering the
perceptions of the Orient in perhaps a negative way. In the words of
Edward Said,
“The
closeness between politics and Orientalism...provokes unrest in one's
conscience about cultural, racial, or historical generalizations,
their uses, value, degree of objectivity, and fundamental
intent...the political and cultural circumstances in which Western
Orientalism [has] flourished draw[s] attention to the debased
position of the Orient or Oriental as an object of study.”
As
a result of altering Mulan's female role, the study of the Oriental
places Chinese culture in a “debased position”, which ultimately
influences how Westerners view and treat Oriental societies.
When
Mulan is discovered as being a female, the main leader of the
soldiers is disappointed. Throughout the film, Mulan wins the
soldiers over by working hard and overcoming physical obstacles, yet
when they find out about her lie, the issue of her being an
untrustworthy person becomes more important than her achievements.
Although Mulan explains the noble reasons for her deception, she is
still left behind and shunned by the leader and the other soldiers.
This represents the value of a woman in relation to the opinions of
men in the Orient society. This also reflects the laws and
expectations of the government on women's rights to make choices and
even fight in war. The dual representation of Chinese laws and the
limitations on what women are allowed to do combine Western views of
the Orient that satisfy both cultures. It reflects Said's notion that
Orientalism goes beyond just the facts of Oriental culture based on
geography; it demonstrates how the conflicts which arise between the
sexes can exist within all cultures.
Although
Mulan does have some accurate depictions of Chinese culture, it is
important not to depend on it as a source for understanding Oriental
cultures, especially in the way women are viewed and treated in
society, or the way they act in relation to men. According to Ruben
Chuaqui's “Orientalism,
Anti-Orientalism, Relativism,”
“we
can come to know substantial stretches of human and nonhuman reality,
although we should at the same time be cautious and prepared to
revise what we know. ..not everything that we
can learn about human beings and societies depends on a knowledge of
their institutions and cultures, although vast portions do depend on
them.”
While
it is important to know about the “institutions and cultures” of
China, it is also necessary to “revise what we know” and to not
just depend on what Disney tells the world about characters like
Mulan. One of the most fatal outcomes of inaccurate depictions about
the Orient includes the lack of research and knowledge that should
accumulate from other sources besides films and media. Unfortunately,
popular culture tends to simplify information in the most
entertaining form in order to make profit and gain popularity rather
than accuracy. This is fatal to the perceptions of the Orient not
only about China but of other Eastern and Middle Eastern countries.
The earlier fascinations of the Orient have progressed from wanting
goods and materials for trade/investments to wanting to fit the
different Oriental traditions into the Western lens that just strips
away the many aspects of the Orient. It is ultimately the
responsibility of the audience to determine what portion of films
like Mulan should be viewed in an entertaining way and what parts
should become a tool to educate the individual about the differences
between Eastern and Western traditions.
Anderson, Crystal S. "Mulan’s Legend and Legacy in China and the United States by Lan Dong (review)." American Studies 52.1 (2012): 196-97.Project Muse. Web. 21 Aug. 2014.
Beauvoir, Simone De. The Second Sex. New York: Knopf, 1953. Print.
Chuaqui, Ruben, and Marc T. Brudzinski. "Orientalism, Anti-Orientalism, Relativism." Nepantla: Views from South 3.2 (2002): 373-90. Project MUSE. Web. 21 Aug. 2014.
Hsieh, Ivy Haoyin, and Marylou M. Matoush. "Filial Daughter, Woman Warrior, or Identity-Seeking Fairytale Princess: Fostering Critical Awareness Through Mulan." Children's Literature in Education 43.3 (2012): 213-22. Web of Science. Web. 21 Aug. 2014.
Said, Edward W. Orientalism. New York: Vintage, 1979. Print.
Anderson, Crystal S. "Mulan’s Legend and Legacy in China and the United States by Lan Dong (review)." American Studies 52.1 (2012): 196-97.Project Muse. Web. 21 Aug. 2014.
Beauvoir, Simone De. The Second Sex. New York: Knopf, 1953. Print.
Chuaqui, Ruben, and Marc T. Brudzinski. "Orientalism, Anti-Orientalism, Relativism." Nepantla: Views from South 3.2 (2002): 373-90. Project MUSE. Web. 21 Aug. 2014.
Hsieh, Ivy Haoyin, and Marylou M. Matoush. "Filial Daughter, Woman Warrior, or Identity-Seeking Fairytale Princess: Fostering Critical Awareness Through Mulan." Children's Literature in Education 43.3 (2012): 213-22. Web of Science. Web. 21 Aug. 2014.
Said, Edward W. Orientalism. New York: Vintage, 1979. Print.