At the Oscars last month the gap between what interests Hollywood and what the rest of the world seems to be doing was sharp and clear. Of the five nominees for the best foreign-language film, all but one, among them the winner, “In a Better World,” from Denmark, dealt in some way with relationships between the West and Islam.
So did many others of the 65 films offered for consideration by film academies around the globe, including the French, German, Dutch and Bulgarian submissions. In contrast, each of the nine American films that were nominated for best picture and eventually lost to “The King’s Speech” from Britain were inward looking, with purely domestic concerns — a characterization that can be applied to movies as different in style and substance as “The Social Network,” “Black Swan,” “The Fighter” and “True Grit.”
But why isn’t the United States also part of that same emerging global cinematic conversation? Why isn’t Hollywood also making movies that grapple with the issues that are provoking filmmakers elsewhere? And when Arab and Muslim characters do appear on screen, why are they presented in such simplistic and stereotyped ways?
In American cinema, “We see everything through American eyes, without context or a representation of community” on the Islamic side, said Matthew Bernstein, an editor of the book “Visions of the East: Orientalism in Film” and chairman of the film and media studies department at Emory University in Atlanta.