Dissertation Submitted in Partial Fulfilment of the Requirements for 
Master’s Degree in Literature and Civilization 

 

      Submitted by:                                                                               Supervised by:  

      Ouissal MEDELLEL                                                                     Dr. Zohra MEHELLOU 

      Zannoubia Nour El Houda BOUHELAL 

       

   
Board of Examiners: 

       Dr. Nour El Houda TOUMI           President                      University of El-Oued 

       Dr. Zohra MEHELLOU                Supervisor                    University of El-Oued 

       Dr. Chaima MENNAI                     Examiner                      University of El-Oued 

 

Academic year: 2023/2024 

 

 

 

 

People’s Democratic Republic of Algeria 

Ministry of Higher Education and Scientific Research 

Hamma Lakhdar University of El-Oued 

Faculty of Arts and Languages 

Department of Arts and English Language 

 

   

 

Arabs in the Future: Techno-Orientalism in Dune Film 

 



I 
 

Dedication  

I dedicate this work to my source of inspiration “my family” and 

to everyone who believed in me 

*** 

I dedicate this work to my family and my few true friends.  

But most importantly, I dedicate this work to my grandmother, Oummi, the illiterate woman who 

fiercely fought for her four grandchildren to have the best education possible. I owe you my life 

and so much more. This work is a testimony for my eternal gratitude. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



II 
 

Acknowledgements  

Praise be to Allah, Lord of the worlds, prophet Mouhammed PBUH had taught that “He who 

does not thank people, does not thank Allah”. For that, this work would not have been completed 

without the full, unwavering support and encouragement of our supervisor Dr. MEHELLOU 

Zohra whose supportive guidance, enlightening suggestions and insightful criticism have played 

a major role in shaping this research through all its stages. 

Special thanks also go to the Hamma Lakhdar University’s English department teachers, 

members, and employees for their efforts and support over the past five years. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



III 
 

Abstract 

Tracing its roots to the aesthetic movement of Orientalism, the Western representation of the 

Orient has historically perpetuated stereotypes and cultural reductions, particularly in relation to 

Arabs. Despite the recent and speedy technological advancements in Arab countries, the 

emergence of techno-Orientalism presents a contemporary lens through which the Far East is 

depicted as simultaneously intelligent and culturally backward while the Near East, “particularly 

Arabs,” seem to be left out. This research delves into the persisting influence of Orientalist views 

in shaping perceptions of Arabs, even within the futuristic settings portrayed in Western science 

fiction. Using the science-fiction film Dune as a case study, which envisions a distant universe 

with a parallel to the Middle East, this study examines the concept of techno-Orientalism and 

how it correlates to the portrayal of Futuristic Arabs. The research seeks aims to unveil the 

nuances of the representation of Arabs and critically contribute to the discourse on cultural 

perception of Arabs in the age of technological evolution. Through a thorough review of relevant 

literature, and a qualitative content analysis that is adapted to provide a comprehensive analysis 

of the film, this study shows the persistence of Orientalist perspectives in the portrayal of Arabs 

in Dune (2021), despite the film's futuristic setting. 

 

Keywords: Arabs, Dune, Orientalism, Techno-Orientalism, Sci-fi films 

 

 

 

 

 

 



IV 
 

List of Figures 

Figure 3.1   The First Coming of Paul Attreides to Arrakis (Villeneuve, 2021, 00:36:48)… …43 

Figure 3.2   Fremen Shouting “Lissan Al-Gheib” (Villeneuve, 2021, 00:36:38)…….………   43 

Figure 3.3   The Fremen People (Villeneuve, 2021, 00:36:20)……………………...…….…   44 

Figure 3.4   The Fremen Religious Rituals (Villeneuve, 2021, 00:43:06)…………………...   44 

Figure 3.5: The Fremen Warrior (Villeneuve, 2021, 02:13:25)………………………….…...  45 

Figure 3.6: Arrakis Desert (Villeneuve, 2021, 01: 55: 25)……………………………….…..   47 

Figure 3.7: Sunlight in Arrakis (Villeneuve, 2021, 01:58:47)………………………………..   47 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



V 
 

  

Table of Contents  

Dedication ...........................…………….......…………………………………...…..............I 

Acknowledgements………………………………………..................................................... II 

Abstract…………………………………...………………………………..…………..........III 

List of Figures ……………………..….………………...………………...……..…..……...IV  

Table of Contents………………………………………….........…........................................V 

General Introduction…………….....…………...………………………………………….....1 

Chapter One: Arabs in Western Eyes: Unmasking the Orientalist 

Perspective 

Introduction …………….......…..……...…………….....……...........……………………...... 10 

1.1. Defining Orientalism..............…...……………………………………………………..... 10 

1.2. Tracing Roots: The Historical Evolution of Orientalism………………………..……..... 12 

1.2.1. The significance of understanding Orientalism’s development through 

history……...…………..……..……………………………………..……………… 12 

1.2.2. Orientalism in Pre-Enlightenment…….………………………………….…... 13 

1.2.3. The Enlightenment Era and the Emergence of Academic Orientalism………. 14 

1.2.4. Imperialism and Orientalism………………………………………………...   15 

1.2.5. Critiques and Contemporary Perspectives on Orientalism………………….... 16 

1.3. From Lawrence to Hollywood: The Legacy of Orientalism in Portraying Arabs...............18 

Conclusion…………..….....…………...…………….……………..............……………….....23 

Chapter Two: Beyond the Dune: The Techno-orientalist Wave and Arabs in 

the Future 

Introduction ……………...………...………………………..…..............………………….....24 

2.1.  Emergence of Techno-Orientalism …………………………………………..…….....24 



VI 
 

2.2.1. Defining Techno-Orientalism.......………………………………...………............24 

2.1.2. From Tradition to Technology: Navigating the evolution of Techno-Orientalist 

discourse……………………………….……………….………………………….….…25 

3.1. Manifestations of Techno-Orientalism in Western Sci-fi Films………………….…...27 

3.1.1. Exploring Arab Representation in Western Sci-Fi Cinema……...…………..........30 

3.1.2. The Representation of Arabs in Western Cinema……………………….………..30 

3.1.3. The Representation of Arabs in Western Science Fiction Cinema……...…...........31 

3.1.3.1. Arabs as the Villains …….….……………………………………...…32 

3.1.3.2. Arabs as “Unimportant” ………………..………………………..…....33 

3.1.3.3. Arabs beyond the stereotypes………..………………….......................34 

Conclusion…………….....…...….……....………………………...…..............…………........34 

 

Chapter Three: Arabs in the Future Locked in the Past: The Dune Film as a 

Case Study 

Introduction …………….....…………...…………………..............…………………............35 

3.1.  Analyzing Common Science Fiction Themes in the Film ……………......................37 

3.2. Characters.......................………..……………………………………….……...........39 

3.2.1. The Portrayal of Great Houses as Superior……………………………………....39 

3.2.2. The Portrayal of Paul Attreides as a Savior……………………………………...41 

3.2.3. The Portrayal of The Fremen as Inferior……………………………………...…43 

3.3. Setting …........…....................………...……………………………………….….....46 

3.3.1. The Portrayal of Arrakis as Harsh and Hostile…..…...………………………....46 

3.4. Themes Where Techno-Orientalism Manifests………………………………….......48 

3.4.1. Spirituality & Mysticism………………………………………………………...49 

3.4.2. The Spice………………....…………………………………………………...…50 



VII 
 

3.4.3. A White Savior as The Messiah……………………………………………...….51 

Conclusion………….….......…………...…………………………..............…..…….……...53 

General Conclusion……………………..…………………………………..….....................54 

References (APA, 7th ed.) ……………………………...…….….........................................56 

 59...................................................................................................................................... ملخص

      

 

 



1 
 

General Introduction  

1. Background of the Study  

 

Back to the eighteenth and nineteenth centuries, and since the first interaction between 

the West and East, the one thing the East could not do was to represent itself. It was initially 

introduced and represented to the world through Western eyes when the first travellers from the 

West depicted the East through their written and visual arts. This was merely considered in the 

beginning an aesthetic movement, yet Edward Said’s work Orientalism (1978) came to refute 

this claim and explain that these artistic works are Western products that play a main role in 

promoting inaccurate stereotypes about the East through the use of an Orientalist discourse. 

Indeed, Said explains that the essence of the relationship between the Occident (West) and the 

Orient (East) is othering the East by representing it in cultural traits and qualities different—and 

opposite—to the West. Being a part of the Orient hemisphere, Arabs are primarily represented 

through the Western lens as villainous, primitive, mysterious, spiritual, and exotic. In relation to 

Westerners, i.e., Europeans, who are represented as masculine, rational and superior, Arabs are 

feminine, irrational, and inferior.  

 

However, the emergence of technology has affected many aspects of life since its first 

spark. Art was not an exception, for this reason, several artistic works tackled speculative or 

futuristic themes, especially within the scientific-fiction genre. However, technological 

advancement was portrayed as a phenomenon that is associated with Western culture 

exclusively. Based on the Orientalist discourse, the Orient is technologically underdeveloped and 

backward, for this reason, it was impossible to go hand-by-hand with this theme. It was like this 

until Japan challenged this concept when Japanese technology started competing with the 

Western one post-World War II (Morley & Robins, 2002). The emergence of technology in the 

Orient area led to the rise of “Techno-Orientalism,” which plays a pivotal role in othering any 



2 
 

type of technology that is not Western. The techno-Orientalist themes are mainly reflected 

especially in sci-fi films that depict the Orient technology, futuristic settings and speculative 

futures.  

In 2021, the sci-fi film Dune was released, it depicts the speculative world in the distant 

future. The Fremen are a desert-dwelling people native to the planet Arrakis in the "Dune" 

universe. They reside in the vast desert region, thus the Freman’s characters are a parallel of 

Arabs and Arrakis parallels the Arab region, the “Middle East.” What triggers the attention is 

that even though the film is portrayed in a futuristic setting, still the depiction of Arabs in the 

future seems to be stuck in the past. 

 

2. Statement of the Argument  

 

The rise of techno-Orientalism and the emergence of sci-fi films that depict the 

futuristic world and societies raises the anticipation for a shift in the representation of Arabs in 

the future, diverging from traditional Orientalist narratives, especially with technological 

advancements in Arab nations. However, the release of sci-fi films that portray Arabs and the 

Arab world in relation to futuristic themes, like Dune (2021), contradict this claim. Arabs in the 

future are still depicted using an Orientalist lens and they seem to be left out of the technological 

race. Therefore, the research problem is devoted to examine how techno-Orientalism correlates 

with the depiction of Futuristic Arabs and why Orientalist perspectives endure despite the 

significant technological progress. 

 

3. Research Questions  

The research intends to rigorously address the following central questions: 

1. How does the historical legacy of Orientalism play a role in shaping contemporary perceptions 

of Arabs in the Future in literature?  



3 
 

2. How does the phenomenon of techno-Orientalism manifest in science-fiction films? 

3.  To what extent does Dune reflect techno-Orientalist tropes in the portrayal of Arabs in the 

future? 

 

4. Literature Review  

 

The examination of the existing academic literature reveals a substantial body of prior 

knowledge that establishes a solid ground for this research. Firstly, scholars have scrutinized 

Edward Said’s Orientalism and the representation of Arabs and Muslims in Western media (both 

written and filmed) through an Orientalist lens. Orientalism started as an aesthetic movement 

that examined the Arab, North African, and Asian worlds through Western eyes (Benromdhane 

Haouel, 2019). Most of the artefacts showed a fascination with the East, but also a reduction. 

They often portrayed Arabs and Asians in their works, written or visual, as villainous, exotic, 

barbaric, mysterious and feminine. On the other hand, Western culture was represented as 

masculine and superior. Secondly, previous literature shows that there has been an investigation 

into the rise and influence of the concept of techno-Orientalism in light of technological 

advancements in the Orient. It describes the representation of the East, particularly the “Far 

East” as terrifyingly intelligent as well as uncivilized and culturally behind.  

 

In his Book Orientalism (1978), Edward Said explains how Orientalism and Orientalist 

discourse were founded. It started with the first interaction between the East and the West during 

the exploration age and colonial expansion. They played a significant role in the creation of the 

Orientalist view of the East. Travelers and writers started depicting the East through a 

Eurocentric lens which tended to portray it as mysterious, irrational, exotic, childlike, fantastical, 

“different” and opposite to the West which is thus rational, virtuous, and “normal.” Said coins 

the term Orientalism to refer to authoritative discourse produced by the West and that represents 



4 
 

the East (Orient) in cultural traits and qualities different—and opposite—to the West. He 

explains that the West, by defining itself in opposition to the constructed image of the East and 

creating an inferior “Other,” reinforces its identity and justifies its dominance. In other words, 

this process of “othering” is a tool for maintaining and legitimizing power structures. In his 

book, Said discusses how Western literature and art play a crucial role in the construction and 

perpetuation of Orientalist ideas. These works created a distorted image of the East, like the 

“Imaginative Geographies,” which depict the Orient as a mysterious and exotic place 

oversimplifying and distorting the reality of a diverse East (Said, 1978). Moreover, Western 

literature developed an enduring stereotypical image of the East as a place of sensuality, 

despotism and mystery. Tropes like: the Harem, the Desert, the Despotic Ruler, etc became 

iconic images and symbols that are fixed in the Western imagination, perpetuating a limited and 

often distorted understanding of the East. Said also emphasized that literature and art are part of 

a broader system of knowledge production. Orientalist representations in cultural forms shape 

public perceptions, influencing not only artistic expression but also academic scholarship and 

political discourse. In Orientalism (1978), Edward Said engages in a critical analysis of some of 

the artistic works to illustrate and explain how they contribute to the Orientalist paradigm. Some 

of the works that Said used were Jean-Léon Gérôme’s paintings, Richard Burton's Translations, 

Delacroix's "The Women of Algiers," etc. By closely examining these works, he exposed the 

represented Orientalist stereotypical images and the Eurocentric perspectives and power 

dynamics embedded in them. He reveals how certain images and themes become ingrained in 

Western depictions of the East, and cultural products that play a role in shaping the Orientalist 

discourse and influencing public opinion.  

Edward Said’s Orientalism (1978) can serve as a foundation stone in this research as it 

is considered the core work to understand, analyse, and criticize Orientalism and its roots and 

implications. However, the book was published in 1978 and has not been updated since. As a 

result, it fails to cover the technological advancements both in the East and the West that have 



5 
 

occurred after, and how they relate to Orientalism. For this reason, Said's analysis provides 

profound insights, but the absence of a nuanced exploration of technological developments and 

their entanglement with Orientalist perspectives is discernible. Furthermore, it is noteworthy that 

Said's examination primarily encompasses traditional artistic mediums, such as written works 

(books) and paintings, thereby neglecting the expansive realm of contemporary visual culture 

represented by television series, films, and social media—the very channels that currently shape 

public opinion. Hence, an acknowledgement of these evolving dynamics is imperative for a 

holistic understanding of Orientalism in our present media landscape. 

 

In Global Media, Electronic Landscapes, and Cultural Boundaries (1995), David 

Morley and Kevin Robins introduce the concept of techno-Orientalism. Based on their 

understanding of Said’s Orientalism and the relationship between “the West and the Rest,” 

Morley and Robins discussed the wave of cultural paranoia concerning Japan and its 

technological advancement. The West, namely Europe and the USA, received the Other’s 

(Japan) technological advancement with a significant concern, this was reflected in 

contemporary popular films like Blade Runner. This book explains how the West represents the 

Japanese and their technological advancement in their films with exotic and mysterious cultural 

traits, because Japan is calling Western modernity into question. As Said mentioned before that 

the “Orient” and “Occident” are man-made, Morley and Robins continued to say that the 

“Orient” exists because the West needs it to bring their project into focus; any modernity that 

rises in the Orient would create an issue to the occident because it means losing Western 

mastery. Japan created a panic because it no longer fits the established historical, geographical 

schema designated by the West and threw it into confusion, creating a panic of disorientation, if 

not, yet to be sure, of dis-Orientalism. To Western social science, modernisation has always been 

related to their hemisphere. For this reason, the emergence of economic power in a Confucian 

zone like Japan was difficult to tolerate because it called Western centrality into question. As 

technological innovation increasingly shifted towards the East, postmodern technologies have 



6 
 

also become integrated into the discourse of Orientalism. These emerging technologies have 

given rise to new manifestations of the contradictory stereotypes associated with Japanese 

identity and ethnicity, shaping a fresh perspective on Japaneseness. This was evident when 

Computer games started to be perceived as a part of Japanese culture like Zen and Kabuki; 

traditional forms of Japanese culture, which embodied the exotic enigmatic and mysterious. 

Japan is romantically idealized in postmodernism as a space between reality and imagination. 

Cyberpunk fiction, like William Gibson's Neuromancer and Ridley Scott's Blade Runner, 

combines futuristic high-tech depictions with feudal Japanese imagery. This contributes to 

Japan's re-invention as a high-tech land with various and related elements, including manga, and 

the emergence of "otaku" (information junkies). However, there is a darker side to the wave of 

techno-Orientalism.  

The association of technology with Japanese identity reinforces a perception of Japan as 

cold, impersonal, and machine-like. The otaku generation, immersed in computer reality, 

symbolizes this detachment from everyday life, embodying a cybernetic mode of being. This 

portrayal contributes to the dehumanization of the Japanese, depicting them as unfeeling aliens, 

cyborgs, or replicants. Despite evoking resentment, there's also a sense that these "mutants" are 

better adapted to survive in the future, which explains perceiving them as a threat. This techno-

Orientalism is disturbing, as it reflects Western xenophobia and racism rooted in the cultural 

inclination to exclude, devalue, and hate the Other. The stereotypes of the Japanese as sub-

human beings with no emotions serve as a mechanism for the West to fortify its perceived 

cultural and identity superiority. The imaginary Japan constructed by the West reinforces old 

mystifications and stereotypes, portraying the Japanese as barbaric and robotic, while positioning 

the West as civilized and human. Kevin Robins and David Morley’s work plays a substantial 

role in introducing the new concept of techno-Orientalism. However, their work focuses only on 

the discourse that was produced in the Far East, particularly Japan, and it does not consider the 

remaining parts of the Orient. 



7 
 

 

Studying these works and examining their shortcomings provides substantial value to 

this research, which will carry on and illuminate the remarkable technological advancements in 

the Arab world. Additionally, it will delve into the portrayal of Arabs in the future, analysing its 

correlation with techno-Orientalism and assessing whether it has strayed from Orientalist 

rhetoric. 

 

5. Aims of the Study  

This study aims to understand the concept of Orientalism, its origins, tropes and impact 

on the portrayal of Arabs in films. Throughout the research, the study also examines the changes 

that happened with the rise of technology and the emergence of techno-Orientalism. Moreover, it 

delves deeper to understand the Techno-orientalist concept, how it has emerged and its 

implications in sci-fi films. Then, using Dune (2021) as a case study, this dissertation fills the 

gap in existing knowledge that lies in understanding how techno-Orientalism correlates with the 

depiction of Arabs in the future. 

 

6. Significance of the Study  

This research is among the few works that study the relationship between the portrayal 

of Arabs and techno-Orientalism. By doing so, it fills the gap in the existing literature that used 

to study the concept of techno-Orientalism only in relation to Far Easterners. This study offers 

future researchers and academics a new perspective on Orientalism, techno-Orientalism, and 

Arab portrayals. Drawing attention to the overlooked stereotypes in the depiction of Arabs in sci-

fi films and futuristic settings, this work encourages people (filmmakers and viewers) to 

critically evaluate and challenge these stereotypes, thereby contributing to more authentic 

portrayals in the future. 

 



8 
 

7. Research Methodology  

 

This research employs a qualitative content analysis to examine the futuristic portrayal 

of Arabs in Dune (2021). Applying this method, the study scrutinizes the media representations 

in the film, including both visual and narrative elements. This approach intends to identify the 

pattern and themes related to the depiction of Arabs in future and its correlation with techno-

Orientalism. The advantage of this approach lies on its ability to provide a multifaceted analysis, 

capturing both the visual and discursive dimensions of cinematic representation. 

 

8. Structure of the Study  

 

This dissertation is divided into three chapters. The first chapter “Arabs in Western 

Eyes: Unmasking the Orientalist Perspective” serves as a theoretical framework to explain the 

Orientalist discourse used in the depiction of Arabs through Western lens. It starts by defining 

the concept of Orientalism, then it traces back to its historical development, and finally, it 

navigates the Western cinema legacy in portraying Arabs using Orientalist tropes. 

 

The second chapter “Beyond the Dune: The Techno-Orientalist Wave and Arabs in the 

Future” discusses the emergence of the techno-Orientalism concept. It begins with defining the 

concept, tracking its emergence, and examining its manifestations in Western sci-fi films. Lastly, 

this chapter investigates the Arabs' representations in Western sci-fi films. 

 

The third chapter “Arabs in the Future Locked in the Past: The Dune Film as a Case 

Study” examines the representation of Arabs in the future in Dune (2021) and its correlation with 

techno-Orientalism. It starts with analysing some common science fiction themes in the film. 

Then, it examines the film’s characters and setting. Finally, it studies the manifestation of 

techno-Orientalism in Dune (2021) 



 
 

 

 

 

 

 

 

CHAPTER ONE  

Arabs in Western Eyes: Unmasking the Orientalist 

Perspective 

 

 

 

 

 

 

 

 

 

 

 

 



 
 

Chapter One: Arabs in Western Eyes: Unmasking the Orientalist Perspective 

 

Introduction …………….......…..……...…………,………….....…….........………………..... 10 

1.1. Defining Orientalism..................………...…………………………………………..... 10 

1.2. Tracing Roots: The Historical Evolution of Orientalism……………………..……..... 12 

1.2.1. The significance of understanding Orientalism’s development through history 12 

1.2.2. Orientalism in Pre-Enlightenment……….……………………………………. 13 

1.2.3. The Enlightenment Era and the Emergence of Academic Orientalism…….…. 14 

1.2.4. Imperialism and Orientalism………………………….……………………...   15 

1.2.5. Critiques and Contemporary Perspectives on Orientalism………….………... 16 

1.3. From Lawrence to Hollywood: The Legacy of Orientalism in Portraying Arabs.........18 

Conclusion…………..….....…………...…………….……………..............……………….....23 

 

 

 

 

 

 



10 
 

Introduction   

Throughout history, the relationship between the West and East has been characterised 

by a nuanced interplay between dialogue and conflict, which generated some moments of tension 

and others of cultural exchange. Amid this dynamic, a significant phenomenon emerged that 

played a major role in shaping the Western perception of the East for centuries to come: 

‘Orientalism.’ 

Initially, Orientalism started as an aesthetic movement that reflected the Western 

travellers and artists’ fascination with the East, who sought to depict it through their literature 

and art shaping it according to their preconceptions and desires (Benromdhane Haouel,2019). 

However, in this relationship, the one thing the Orient could not do was to represent itself. 

Instead, it was invariably defined and introduced through the eyes of Western observers, 

perpetuating a one-sided narrative that often exoticized, essentialised, and marginalised Eastern 

cultures. 

 

This chapter aims first to define Orientalism and delve deeper into its meaning. Second, 

it explores the historical origins of Orientalism and its evolution and manifestation. Finally, this 

chapter explains the role of Western cinema in perpetuating Orientalist stereotypes, examining 

how films have both reflected and reinforced Orientalist narratives, shaping popular 

understanding and perpetuating cultural biases. 

 

1.1. Defining Orientalism 

The understanding of Orientalism's meaning has significantly transformed over time, 

with Edward Said's seminal work, Orientalism (1978) playing a pivotal role in this paradigm 

shift. Derived from the Latin word orient, signifying the "East" or the "rising sun," Orientalism 

originally denoted a scholarly or curious engagement with Eastern cultures (Goode, 2010). 



11 
 

Alexander Towey, in his article "Orientalism Before and After Edward Said," (2018) elucidates 

that pre-Said, an Orientalist was characterized as someone with a deep interest in or academic 

pursuit of knowledge about the Orient.  

Turning to the text itself, Orientalism (1978) is naturally focused firstly on defining the 

term. In the pages ahead, we will see the concept of Orientalism unfurled, investigated and 

critiqued. However, in his book Orientalism, Said firstly takes some care to help in 

understanding what he means when he talks about Orientalism. For Said, Orientalism is hardly a 

stage in the acquisition of knowledge. Rather, it is something more imposed: a way of seeing that 

is distinct from the mere recording of isolated facts (Said, 1978). This constitutes the act of 

'naming' as an act of power, since to name something is to have power over it. So, what is 

Orientalism? Said redefined the term, shifting its focus from mere description to ideology, and 

summarizes it as follows: "Orientalism is a style of thought based upon an ontological and 

epistemological distinction made between the Orient and (most of the time) the Occident (1978, 

p.2). Said uses the concept of Orientalism to refer to the authoritative discourse produced by the 

West that represents the East (Orient) in cultural traits and qualities different—and opposite—to 

the West.  

Orientalism as explained by Edward Said digs deep into the polarity between the self 

(the West or the Occident) and the Other (the East or the Orient). Said's work explains how the 

West has historically developed a narrative of predominance and exoticism when speaking to 

and about the East. This representation is grounded in power dynamics, where the West positions 

itself as the standard against which the East is characterized as the Other. The West identifies by 

all what the East is not, the former is superior, rational, and developed, being quite the opposite 

to the latter. This self-definition justifies the Western imperialism and dominance over the East, 

which consequently maintains the power dynamics inherent in Orientalism. This binary view is a 

distortion of what the East and West truly are. The East and the West are not homogeneous 

entities, but diverse and complex. The 'Other' is not just a reflection of the 'Self's fears and 



12 
 

fantasies but has its own agency and voice. Acknowledging the broadness and complexity of 

each polar is pivotal for moving past Orientalist stereotypes and cultivating a more accurate 

understanding of the East (Said, 1978). 

1.2. Tracing Roots: The Historical Evolution of Orientalism 

 In order to develop an elaborate understanding of Western perception of the East, understanding 

the historical evolution of Orientalism is crucial. 

1.2.1. The significance of understanding Orientalism’s development through history 

Without adequate study of Orientalism’s development on a historical level, one cannot 

deconstruct the intercultural exchange and the power dynamics that formed the relationship 

between the East and the West for centuries.  

The importance of tracing the historical trajectory of Orientalism lies in exploring its 

first roots in Western thought and exploration. From the pre-enlightenment era to this very day, 

Western encounters with the East have been dictated by a complex interplay of cultural, political, 

and economic forces, often prioritising the West over the East (Said, 1978). The evolution of 

Orientalist discourse mirrors European hegemony and its constant change, from the early 

imaginings of exoticism and Otherness in the Enlightenment era to academic orientalism and the 

construction of imperialist ideologies in the age of colonial expansion. The historical trajectory 

of Orientalism explains the relationship between knowledge production, power structures, and 

colonial enterprise. To elaborate, academic Orientalism, rising as an academic discipline within 

the Enlightenment era, served as a legitimizing force for imperialism, giving intellectual defence 

for the oppression and subjugation of Eastern societies (Said, 1978). As European powers 

asserted dominance over Asia, Africa, and the Middle East in the middle to late 19th century, 

Orientalist scholarship became complicit in asserting racial hierarchies, white supremacy, and 

Eurocentric worldviews (Said, 1978). Besides, an appreciation of the historical evolution of 



13 
 

Orientalism is basic for examining contemporary cultural representations of the East. Whereas 

the plain colonialism of yesteryears may have wound down, the legacy of Orientalist thinking 

continues to shape contemporary narrative, media representations, cultural representation, and 

geopolitical strategies. By detecting Orientalism's roots, we will be able to detect and analyse the 

subtle, and often not so subtle, progressions and transformations that support contemporary 

Orientalist tropes, from the exoticization of Eastern cultures and traditions to the propagation of 

Islamophobic stereotypes. 

To sum up, the historical evolution of Orientalism serves as an important viewpoint 

through which to examine the complexities of cross-cultural experiences and the persevering 

legacies of colonialism. To deal with Orientalism without recognizing its historical context is to 

risk propagating ahistorical accounts and fortifying the hegemonic structures that proceed to 

shape Western understanding of the East until this day. 

1.2.2. Orientalism in Pre-Enlightenment  

The Pre-enlightenment Orientalist discourse was mainly constructed by the influence of 

travel literature, art, and religious texts (Said, 1979). The idea of these far Eastern lands 

exotically described by the pens of orientalist writers served as a window into an unknown and 

interesting world. Works such as Marco Polo's Il Milione and, although not an orientalist, Ibn 

Battuta's Rihla drew Western readers’ attention to tales of distant lands with exotic wonders and 

peoples with unfathomable customs (Irwin, 2004). Exoticism can be defined as the quality of 

seeming unusual or interesting, often because of associations with a distant country (Collins, 

n.d.). Although these narratives were primarily implemented for dramatic effect, they played a 

pivotal role in shaping Western perceptions of the Orient as a destination of boundless wonders 

and mysteries.  

Also, art served as a vital medium through which Western imaginings of the East 

became palpable (Mack, 2002). Art portrayed in the exotic representations of the Arabian Nights 



14 
 

in European paintings and the delicate motifs garnishing Oriental carpets and ceramics, served as 

a mirror reflecting Western desires, fantasies, and fears in relation to the Orient. Through the 

lens of aesthetic representation, the East became synonymous with sensuality and exoticism, 

propagating persevering stereotypes that continue to live within the contemporary imagination. 

In addition, the role of exploration and colonial expansion cannot be downplayed in forming pre-

Enlightenment perceptions of the Orient. The voyages of discovery embarked upon by European 

explorers in search for new trade routes and territories brought them face-to-face with different 

cultures and peoples of the East (Said, 1979). However, these experiences were often filtered 

through the lens of cultural predominance and ethnocentrism, driving to the construction of 

reductive stereotypes. Be it through documentation or storytelling, the idea of the Oriental 

"Other" as primitive, irrational, inferior, and incapable of self-governance started to crystallize in 

the minds of Western explorers.  

As a conclusion, the pre-Enlightenment period laid the groundwork for the emergence 

of Orientalism both as a general discourse and an academic field, permeating the Western psyche 

with images and narratives that continue to shape their perception of the East. 

 

1.2.3. The Enlightenment Era and the Emergence of Academic Orientalism 

The Enlightenment period crossing the 17th and 18th centuries was a period of 

intellectual and philosophical advancement in Western societies. It had a significant effect on the 

evolution of Orientalist discourse. The Enlightenment era brought a shift in the way the Orient 

was seen, moving from a fantastical and exotic construct to a subject of scholarly study and 

examination. This period saw the rise of what Edward Said refers to as 'academic Orientalism' 

(Said, 1978, p.146). 

 

Academic Orientalism in the 18th and 19th centuries was characterized by a precise and 

scholarly approach to examining the East. Orientalists aimed to classify, document, and analyse 



15 
 

Eastern societies, cultures, and languages. This was facilitated by the establishment of 

institutions devoted to Oriental studies and the publication of various scholarly works on the 

subject. Be that as it may, as Said points out, this scholarly interest was mostly driven by a crave 

to assert Western predominance and legitimize colonial rule (Said, 1978, p.191-192). 

Many key Orientalist scholars had risen amid this period, each contributing to forming 

the Western understanding of the East. For instance, Silvestre de Sacy, a French linguist and the 

first modern and institutional European Orientalist, worked on Arabic literature, Islam, and 

Middle Eastern religions and was instrumental in establishing Oriental studies as a regarded 

scholastic discipline in Europe. Additionally, Edward William Lane, the English researcher and 

the author of Account of the Manners and Customs of the Modern Egyptians (1860), is known 

for his detailed and comprehensive works on Arabic literature and Egyptian society. However, 

their works, whereas scholastically thorough, frequently strengthened stereotypical and 

reductionist views of the East (Said, 1978). 

 

The development of academic Orientalism in the late 18th century played a noteworthy 

part in forming Western perceptions of the East. While it led to a more systematic and scholarly 

approach to examining the East, it also reinforced a binary view of the East and West, frequently 

to the disservice of the former. 

 

1.2.4.  Imperialism and Orientalism  

The relationship between Orientalism and European imperialism is that of shared 

reinforcement. Orientalism, as Edward Said (1978) sets, is not just a passive cultural 

phenomenon, but an active construct that served the purposes of European domination. The 

'Orient' was regarded as the 'Other' - exotic, backward, and uncivilized - opposite to the 

'Occident' - rational, developed, and superior. This binary opposition advocated for the civilizing 

mission of European colonial powers as well as cultural ones. manifested in cultural imperialism. 



16 
 

Cultural Imperialism can be defined as the politically and economically dominant West imposing 

its own culture including language, costumes, and social and moral norms onto the typically non-

dominant East (Petras, 1994). 

Orientalist ideologies played a significant part in advocating colonial expansion and 

domination. The Orient was portrayed as a place that needed to be saved from itself, 

subsequently legitimizing the colonial undertaking. Orientalist scholarship painted a picture of 

the East as stagnant and unchanging, in need of the progress and improvements that the West 

may bring (Said, 1978). Orientalist scholars served colonial interests by constructing narratives 

of cultural predominance. Researchers like William Jones and Max Müller, while contributing 

generously to the understanding of Eastern cultures and languages, also reinforced the idea of 

Western predominance and the White man's burden. Their works frequently depicted Eastern 

societies as fascinating yet inferior, further upholding the power dynamics between the East and 

the West (Said, 1978). 

All in all, Orientalism was not merely a reflection of European recognition of the East, 

but a construct that served European political and imperialistic objectives in the East. Which was 

to dominate the region culturally (Petras, 1994). 

 

1.2.5. Critiques and Contemporary Perspectives on Orientalism 

Edward Said's work Orientalism (1978) challenged the conventional Orientalist 

discourse. The Palestinian-American academic criticizes Orientalism as a framework serving 

Western imperialism, contending that it was not an objective field of study but rather a system of 

knowledge utilized to legitimize and sustain Western dominance over the East. He contended 

that Orientalist scholars, deliberately or unknowingly, created stereotypes of the Orient as 

outlandish, backward, and uncivilized. These representations, he asserts, served to strengthen the 

perceived superiority of the West and legitimise colonial rule. Said's work had a significant 

effect on academic discourse. It sparked a wave of postcolonial studies that examined the power 



17 
 

dynamics inherent in knowledge production (Prakash, 1995). His work pushed scholars and 

academics to fundamentally look at their own biases and the socio-political and historical 

contexts that shape their viewpoints and consequently their scientific writings. By challenging 

the foundations of Orientalism, Said not only reshaped the field but also influenced a wide extent 

of disciplines, from literary studies to anthropology, resulting in a more basic and self-reflexive 

academia. His work proceeds to inspire researchers to challenge inherent and dominant 

narratives and opt for a more nuanced and unbiased understanding of the Other (Prakash, 1995). 

 

Contemporary viewpoints on Orientalism proceed to alter and reflect the evolving 

dynamics of contemporary global power and culture. Said's critique proceeds to be considered as 

a foundation for anti-orientalism, in any case, new voices have risen, offering new insights and 

challenging thoughts. 

A contemporary emerging concept of Orientalism is Self-Orientalism, where the East 

itself internalizes and replicates these Orientalist generalizations as a means of “Orientalising the 

Oriental” (Oakes & Price, 2008). This point of view goes to uncover the complex social 

transaction between the 'Orient' and the 'Occident' and the part of the East in framing its own 

image and identity both within the eyes of the East and the West. Another noteworthy 

perspective is 'neo-Orientalism', which is concerned with the Orientalist discourse post 9/11 

(Altwaiji, 2014). Researchers contend that neo-Orientalism created a new binary of 'us' versus 

'them', strengthening stereotypes of the East as a threat to Western security and Orientals as 

subhuman terrorists. Another perspective, which is the most vital one given the subject under 

hand, is Techno-Orientalism, which goes to show how Orientalist narratives have been 

transformed in the context of advanced technology (Rohet. al, 2015). Scholars present Techno-

Orientalism as a discourse that propagates a dichotomy of 'advanced West' versus 

'technologically backward East', reinforcing stereotypes of the East as technologically inferior, 



18 
 

whereas paradoxically also posing a threat to Western technological dominance (Roh, Huang, & 

Niu, 2015). 

1.3. From Lawrence to Hollywood: The Legacy of Orientalism in Portraying Arabs 

Transitioning from the realms of written and visual art, such as literature and painting, 

to the silver screen, Western art has significantly contributed to the propagation of Orientalist 

depictions of Arabs. Films in particular have compromised a larger legacy since the last 

millennium. Films like The Sheik (1921), The Son of the Sheik (1926), Lawrence of Arabia 

(1962), Aladdin (1992), The 13 Warriors (1999) and more have played a major role in the 

depiction of Arabs as barbaric, savage, terrorists and inferior. This contributes mainly to the 

perpetuation of the Orientalist view of Arabs, as Gerbener and Grossn (1976) said: “Being 

exposed to too much television and film creates illusory perceptions of reality, mainly caused by 

the repetition of certain images in different contexts” (as cited in Eissa, Guta, & Hassan, 2022, 

p.16). 

The images that have been created about Arabs through a Western cinematic lens did 

not introduce new portrayals but breathed life into those already found in literature, novels, and 

artworks. They were in the beginning a continuation of the portrayals of Arabs in literary works 

and travel journals. These productions were influenced by early explorers and travellers who 

journeyed into eastern lands beyond their own (Dajani, 2000). 

To begin with, the portrayal of Arab lands often leans heavily towards exoticism, 

portraying them as fantastical deserts fraught with peril and mystery. In most Western movies; 

like Lawrence of Arabia (1962) and The Sheik (1921), the first representation of the Arab land 

begins with the scene that depicts the vast empty desert followed in the background with 

fantastical and mysterious music. Within this expansive landscape, Arab communities were often 

depicted as inhabiting a primitive and uncivilised existence. In the Disney movie Aladdin (1992), 

the residents are positioned in an environment lacking cleanliness and tidiness, appearing shabby 

and unclean. This reinforces the notion that Arab individuals are not regarded as refined 



19 
 

members of society (Gayathri, 2021).  These images reinforce the Orientalist, Western 

stereotypes that depict the Arab land as an otherworldly place, detached from modernity and 

civilisation. Also, it validates the claim that the Arab land is a dangerous place. Djani (2000) 

explains that the desert is portrayed as belonging to the Arab people, with access restricted to 

foreigners unless granted permission by the Arabs—which mirrors the perceived exoticism and 

hostility of the Arab world.  Moreover, the imagery of the Harem -a private space for women in 

the Middle East - was one of the other main images that was depicted in the Western movies 

representing the Arab land and culture. Films like Kismet (1955) reinforce existing stereotypes 

about Arab cultures as inherently exotic and sexually charged, contributing to the Orientalist 

discourse prevalent in Western societies. Rana Kabbani explores the constructed link between 

Islam and sexual decadence in her work "Europe's Myths of Orient," (1986) suggesting that the 

West invented these associations to maintain dominance over the East. She notes how travellers 

to the Orient often fabricated tales about the Sultan's harem, contributing to the perpetuation of 

the existing sexual stereotype associated with Muslims. These stories, compiled by Antoine 

Galland in 1704 as Arabian Nights, were not textual works originating from the Arab/Muslim 

world but were orally transmitted anecdotes embellished by Galland. Kabbani (1986) argues that 

these tales, predominantly shaped by Westerners, despite lacking substantial documentation in 

the Arab/Muslim context, have influenced perceptions of the East for centuries, notably shaping 

the writings of Romantic poets such as Coleridge and Lord Byron, as well as being adapted into 

films like The Thief of Baghdad and Kismet (Dajani, 2000).  

Moreover, the portrayal of Arab characters in Western films is typically categorized into 

two overarching stereotypes: Firstly, they are often depicted as archetypal barbaric figures, 

portrayed as savage, ignorant, and childlike. Secondly, they are frequently portrayed as terrorists, 

extremists, and generally untrustworthy characters (Djani, 2000). 

To begin with the first archetype, the Arab character is often associated with exoticism 

and sex. The ‘Desert Romances’ films like The Sheik (1921), Sahara (1983), The Protocol 



20 
 

(1984), and The Jewel of the Nile (1985) represent the storyline which established a cinematic 

trend that persisted for decades in which “the Cinderella meets the Arabian Nights.” (Dajani, 

2000). In which, the Sheik (the Arab prince) becomes obsessed with the blond foreign woman 

and uses all means to get her. Meanwhile, the Arab woman exists in Western films as a belly 

dancer who is highly sexualised, passive and male-dominated. In movies like Looking for 

Danger (1957), The Young Sherlock Holmes (1958), Son of Pink Panther (1993) and even in the 

Disney movie Aladdin (1992) the female Arab characters are always characterised with highly 

sexualized clothes of a belly dancer. Tania Kamal El-Din, the producer of Hollywood Harems 

(1999), elucidates that Hollywood's portrayal of Eastern and Middle Eastern women conforms to 

the prevalent Orientalist notion, depicting the Orient as a captivating, alluring, and enigmatic 

realm. Consequently, numerous films have emerged showcasing harems or dancers. This 

depiction also reinforces the image of Arab males who are driven and ruled by sexual desires 

which reinforces the image of a chaotic Arab society that needs Western guidance and save.  

        Here comes the role of the Western characters who, unlike Arabs, are rational and 

can save the Arab land. This can be seen in the film Lawrence of Arabia (1962) which unfolds 

against the backdrop of World War One, a period when the British fostered aspirations of Arab 

autonomy, hoping to incite rebellion against the Ottoman rulers, allies of Germany. Lieutenant 

Lawrence, previously stationed in Cairo, is dispatched to Arabia to assess the situation and relay 

information to the British Army. A learned scholar of the East, Lawrence swiftly proves himself 

adept in the desert, earning the trust of the Arab tribes. His mission is to unite these tribes, 

transcending their internal divisions, to confront the Turks and achieve independence. 

Lawrence's refusal to succumb to what the Arabs view as destiny earns him their admiration; 

they see him as one who has defied fate and lived to tell the tale. Once more, the Arabs are 

depicted as passive, awaiting a catalyst for action. Lawrence persuades them to undertake the 

arduous journey to Aqaba, a task previously deemed impossible for Bedouins. Not only does he 

lead them successfully, but he also navigates the Sinai desert to return to Cairo. Such 



21 
 

accomplishments might lead one to believe Lawrence is the prophetic figure destined to guide 

the Arabs to freedom (Dajani, 2000).   

On the other hand, by the late sixties, representations of Arabs and Muslims had 

changed drastically. No longer seen as romantic and erotic, Arab/Muslim portrayals in 

Hollywood films were influenced by the politics of the day. Abdelmajid Hajji, a literature 

specialist has identified five significant occurrences that he believes have influenced how Arabs 

and Muslims are perceived, these include the creation of Israel and the resulting conflict with 

Palestinians, incidents like the Iran hostage crisis that pitted American law enforcement against 

Arab/Muslim terrorists, the 1973 oil crisis, the Gulf War leading to the emergence of 

Islamophobia, and the events of September 11, 2001. While none of these events alone caused 

the change in representation, it is the combination of such events that have molded American 

fears and perceptions of the region. Consequently, Hollywood's portrayal of Orientalist fantasies 

has become less feasible, particularly as American understanding of the Middle East often 

revolves around depictions of violence, extremism, and militancy (as cited in Woods, n.d.). 

Therefore, images of Arabs with guns and terrorists, civilian murders and bombers became the 

stereotypical norm.  Compared to previous portrayals, there is a shift in the depiction of Arabs in 

Western films that occurred towards a more focused portrayal of antagonism. While Arabs had 

previously been depicted as antagonists, they were often portrayed as bumbling and comical 

figures. However, they have now evolved into sinister villains who are perceived as genuine 

threats to Westerners, both domestically and internationally.  

These distinctly negative representations have become the norm in the film industry's 

portrayal of Arabs. In films like Body of Lies (2008), it starts by portraying Arabs as a menace to 

Western society. Despite the setting being in Manchester, England, the first shot introduces al-

Saleem, who addresses his followers via a video camera. He claims responsibility for a past 

attack and threatens further ones: "We will avenge the American wars on the Muslim world. We 

will come at them. Everywhere. We will strike at random, across Europe and then America, 



22 
 

continually. We have bled. And now . . . they will bleed" (Woods, n.d.). Arabic and Islamic 

tropes like Adhan (call to prayer), Prayer, Takbir, men’s beards and women’s veils become 

synonymous with terrorist acts and extremism. In one scene in Body of Lies (2008), when the 

terrorists realise, they are about to be apprehended, they detonate the building while shouting the 

stereotypical phrase of Takbīr: “Allahu akbar” (“God is the greatest”). In Zero Dark Thirty 

(2012), the call to prayer is strategically incorporated into the film to subtly highlight the Muslim 

faith of the terrorists. One notable instance occurs when Inter-Services Intelligence (I.S.I.) agents 

capture Abu Faraj al-Libbi, suspected of close ties to bin Laden. As agents strap what appear to 

be explosives to a courier's leg, they say, "You know how this works? God willing, we won't 

have to use it." The courier nervously approaches Faraj across a courtyard before being captured 

by agents disguised in burqas. Throughout this sequence, the call to prayer (Adhan) can be heard 

prominently, reinforcing the association of Islam with terrorism, suicide bombings, and violence. 

This use of the adhan in various scenes perpetuates a context where any instance of its sound is 

subsequently imbued with hostility.  

 

In modern times, Orientalist fantasies still exist, in a less common way and often they 

have political undertones. The Arab world in Aladdin (1992) as an example is depicted as both 

exotic and menacing, referencing Middle Eastern politics. It evokes older stereotypes of mystery 

with its ambiguous historical setting.  

Contemporary films often use past settings, to romanticize the East reflecting nostalgia 

for a pre-imperial era. On the other hand, the rise of the antagonistic Arab has led some scholars 

to argue that the "green terror" of Islamic fundamentalism replaced the "red menace" of 

communism as the new threat to the American way of life. However, others note that terrorist 

themes emerged prior to the decline of communism. Arab representation has evolved as a 

response to the political changes in the global landscape. Arabs start to be seen increasingly as 

threats to the American way of life. The terrorist image, in particular, has become prominent, 

much like how American politicians portrayed communism to justify foreign policy decisions. 



23 
 

The events of September 11, 2001, the Iraq War, and the Palestinian-Israeli conflict have 

contributed to the global perception of the Middle East as a place of conflict. In the past, the 

Arab world was seen as dangerous but contained, allowing it to serve as a playground for 

Western adventures. However, as perceptions changed, Western culture reacted by vilifying 

Arabs to a greater extent than before (Woods, n.d.). 

Overall, the Arabs' portrayal in Western cinema has changed over time due to 

geopolitical dynamics and cultural perceptions. However, Orientalist tropes persist in these 

representations highlighting the importance of being critically aware of the wider implications of 

Orientalism and its media portrayals. 

 

Conclusion 

In this chapter, the relationship between the East and the West was discussed through 

the lens of Orientalism. Tracing its journey from a historical fascination to a potent ideological 

framework, initially, Orientalism was driven by imaginations and ideals about the East often 

overlooking the voices and experiences of Eastern societies. Edward Said’s influential work, 

Orientalism, shapes our understanding of Orientalism revealing how it perpetuated stereotypes 

and justified Western hegemony and imperialism.  

The historical evolution of Orientalism starting from travel writings to its 

institutionalization during the Enlightenment period demonstrates how it was employed to 

legitimize rule and reinforce cultural hierarchies. This link between knowledge and authority 

endured over time shaping depictions of cultures in Western movies. These films continue to 

portray Arabs and other Eastern groups as primitive or menacing figures. 

It is essential to grasp the context of Orientalism and its impact on media 

representations to dismantle these enduring stereotypes. By challenging and scrutinizing these 



24 
 

narratives we can progress towards an authentic appreciation of Eastern cultures’ independence 

and autonomy. 



 

 

 

 

 

 

 

        

 

 

CHAPTER TWO  

Beyond the Dune: The Techno-Orientalist Wave and 

Arabs in the Future  

 

 

 

 

 

 

 

 

 

 



 

Chapter Two: Beyond the Dune: The Techno-Orientalist Wave and Arabs in 

the Future  

Introduction ……………...…………...………………………..…..............……………….........24 

2.1. Emergence of Techno-Orientalism …………………………………………..…….........24 

2.1.1. Defining Techno-Orientalism.....…….………………………………………….........24 

2.1.2. From Tradition to Technology: Navigating the evolution of Techno-Orientalist 

discourse……………………………………………………………………….……..25 

2.1.3. Manifestations of Techno-Orientalism in Western Sci-fi Films………...…………...27 

2.2. Exploring Arab Representation in Western Sci-Fi Cinema……………..…………........30 

2.2.1. The Representation of Arabs in Western Cinema…………………………………….30 

2.2.2.  The Representation of Arabs in Western Science Fiction Cinema...…………….......31 

2.2.2.1.  Arabs as the Villains ……...…………………………………………….32 

2.2.2.2.  Arabs as “Unimportant” ………………………………………………..33 

2.2.2.3.  Arabs beyond the stereotypes.………………………………………......34 

Conclusion…………….....…...….……...…………………………..............………….....…......34 

 

 



24 
 

Introduction   

It cannot be denied that Edward Said's Orientalism (1978) laid the ground for 

understanding how Western discourse has historically portrayed the East. Said's definition of 

Orientalism as the authoritative discourse produced by the West that represents the East (Orient) 

in cultural traits and qualities different oppositeᅳto the West (Said, 1978) explains the depiction 

of the Orient as culturally backward and technologically underdeveloped through the Western 

lens. However, the rise of high technology in countries like Japan which is situated in the Orient 

hemisphere, has challenged the traditional discourse and led to the emergence of new narratives. 

Responding to this shift, and based on their understanding of Said's Orientalism, the 

scholars David Morley and Kevin Robins introduced the concept of techno-Orientalism, which 

explains the new Western discourse that depicts the Orient in the context of its technological 

development.  

This chapter aims first to explore the concept of techno-Orientalism and delve deeper 

into its meaning. Also, it examines the factors that contribute to its emergence, and it explores its 

manifestations in sci-fi Western films. Finally, it sheds light on the portrayal of Arabs within the 

realm of sci-fi cinema. 

2.1.  Emergence of Techno-Orientalism 

2.1.1. Defining Techno-Orientalism 

The term Techno-Orientalism, coined by David Morley and Kevin Robins in 1995, 

refers to the widespread discourse that demonstrates various stereotypes and distortions about 

Japan since the sixties. This discourse portrays Japan as a highly technological, dehumanized, 

and materialistic society. Techno-Orientalism, functioning as an orientalist discourse, has been 

established by the West as a dominant power-knowledge structure globally. It draws from 

orientalist knowledge about Japan and the constructed imagery of "East Asia" (Méndez, 2010).  

In other words, techno-Orientalism is defined as: 



25 
 

The phenomenon of imagining Asia and Asians in hypo or hyper-technological terms 

in   cultural productions and political discourse [...] that has become part of the West's 

project of securing dominance as architect of the future, a project that requires 

configurations of the East as the very technology with which to shape it. (Roh et al., 

2015, p. 2) 

 

2.1.2. From Tradition to Technology: Navigating the evolution of Techno-Orientalist 

Discourse 

It was 1995 when the term techno-Orientalism first emerged. Discussing the contrarian 

stereotypes in depicting Japan in their book Spaces in Identity: Global Media, Electronic 

Landscapes and Cultural Boundaries (2002), David Morley and Kevin Robins highlight the 

change in the discourse portraying Japan from tradition to technology. Japan which is a part of 

Far Asia situated in the East (The Orient) was portrayed like the Arab region in the Near East as 

a land teeming with exotic individuals and items reduced to a single image of backwardness, 

extravagance and passivity. (Said, 1978, as cited in Lu, 2021). It was among the West’s Others 

for almost five centuries, elements like zen, kabuki, tea ceremonies and geishas for example 

were considered a part of the phenomenon of aesthetic Japonism which was perceived as exotic. 

Simultaneously, Japanese concepts like kamikaze, ninjutsu, and samurai were seen as 

dehumanizing and violent acts that evoked fear. Japanese culture was perceived as an alien and 

backward culture until the rise of Japanese technology.  

The emergence of new technologies in Japan to the extent that the US nuclear weapons 

industry is dependent on Japanese suppliers calls Western modernity into question and this has 

led to a defensive reaction from the West. (Morley & Robins, 2002). This reaction was according 

to Akio Morita, a former chairman of Sony, a result of the Western feeling that strangers, or 

something foreign, had entered their midst, which led to strong emotions of fear and anxiety 

(The Sunday Times,1989, as cited in Morley & Robins, 2002). This is because technology has 



26 
 

always been a Western concept, as Corm (1989) explained, modernity has always been used as a 

"mysterious and magical word" that serves as a dividing line between the Western identity and 

the rest of the world (as cited in Morley & Robins, 2002). Thus, if the West is credited with the 

creation of modernity, it's important to acknowledge that modernity itself played a significant 

role in shaping the imaginary space and identity commonly referred to as "Western." For this 

reason, any potential rise of technology in Japan, the “Other” has consistently indicated a 

menace to put the West, i.e., “us” in danger. 

Japan and other Asian countries have always created a panic in Western imagination. A 

common concept that was widespread at the time was “Yellow Peril,”, which is a dehumanizing 

and racist term that has been used to encompass and homogenize Asian people of various 

ethnicities based solely on the colour of their skin. It emerged as a response to the growing threat 

of the Japanese rise, yet this term refers to the threat of all Asian countries and by extension 

Asian people to the Western way of life, which is visible in numerous prevalent narratives, 

media representations, and political decisions throughout US history. At its most extreme, there's 

an image depicting Japanese and Chinese masses sweeping across Europe, trampling the ruins of 

the major Western cities, and eradicating civilisations that have grown weak from indulgence in 

luxuries and tainted by spiritual vanity (Morley & Robins, 2002). 

As a result of all these historical changes, the discourse depicting Japan witnessed a shift 

from a traditional, exotic culture to a highly-technological, exotic culture that poses a threat to 

the West, referred to as techno-Orientalism. In light of this discourse, Japaneseness has become 

closely linked with high technology, and Japan is depicted as the greatest "machine-loving" 

nation, where machines are considered invaluable companions (Kato, 1991, as cited in Morley& 

Robins, 2002).  The stereotypes of Japanese culture have taken on new manifestations, pachinko 

and computer games became the postmodern counterparts of Zen and kabuki– two distinct 

aspects of Japanese culture, and like traditional forms of Japanese culture, they also encapsulate 

the exotic, enigmatic, and mysterious essence of Japanese. Tokyo, Japan’s capital for example 



27 
 

started to be perceived as the focal point for a new phenomenon of "postmodern tourism," 

representing the epitome of the modern decentralized metropolis, and Japan as a realm between 

the real and the imaginary (Thackara, 1989, as cited in Morly& Robins, 2002). However, a more 

resentful and aggressively racist aspect to this Techno-Orientalism is represented in the portrayal 

of Japanese culture as cold, impersonal, and mechanistic, which is characterized by 

authoritarianism and a lack of emotional connection to the world. For example, the otaku 

generation, described as youths "lost to everyday life" due to their immersion in computer 

reality, serves as a fitting symbol of this perception. These youths are envisioned as transforming 

machines, embodying a cybernetic mode of existence indicative of the future. This portrayal 

constructs the Japanese as inhuman and Japan as the alienated and dystopian face of capitalist 

progress (Morley&Robins, 2002). 

 

2.1.3.  Manifestations of Techno-Orientalism in Western Sci-fi Films 

Techno-Orientalist tropes are commonly manifested in scientific-fiction films. This is 

because the relationship between sci-fi genre and techno-Orientalism is very intertwined. 

Tracing back to the historical context, science fiction became popular in the West during the 

Cold War, a time of tension between the US and the Soviet Union. During this period, there were 

negative feelings towards Japan and other East Asian countries in the West. These feelings 

influenced the stories and films being made, leading to what's called techno-Orientalism in films 

(Seed, 1999). 

Western sci-fi films such as Cloud Atlas (2012), Ex Machina (2014), Ghost in the Shell 

(2017) and Blade Runner (2017) are among the popular Western sci-fi that employ techno-

Orientalist stereotypes and symbols. These tropes are represented in the depiction of Asian cities 

as highly-technologized megacities, Asians as machine-like, and Asian women as objects (Jerng, 

2017). 



28 
 

To begin with, Asian cities in Hollywood are portrayed as a mix of high technology and 

exoticism. Western Sci-fi films take place often in East Asian futuristic cityscapes filled with 

advanced technology. Simultaneously, these cities are characterised by distinct East Asian 

motifs, such as banners and signs written in Cantonese, reminiscent of densely populated, neon-

lit East Asian metropolises like Tokyo, Hong Kong, Seoul, or Singapore. Forming a mix of high 

technology and exoticism, East Asia is portrayed as a threat to the West in sci-fi films, and the 

choice of the film setting plays a pivotal role (Yu, 2008; Park, 2010; Rogers, 2022). Cloud Atlas 

(2012), a film adaptation of David Mitchell's novel, published in 2004 serves as a good example. 

This film consists of six interconnected stories that span over different time periods. In one of its 

stories, it portrays the technological ruin occurring in East Asia, specifically in Neo-Seoul, a 

futuristic version of South Korea, in the year 2144. This plot follows the tale of Sonmi-451, a 

genetically engineered fabricant Korean woman working at a fast-food restaurant called Papa 

Song. Neol-Seoul that is considered as the story’s setting, is depicted as a vast and vibrant 

metropolis with towering skyscrapers illuminated by bright neon signs in Korean characters 

(Hangul). This glamorous portrayal of Neo-Seoul is contrasted with the threatening view of 

buildings submerged underwater due to rising sea levels, referred to as Old-Seoul. The film 

portrays the perishing of Old-Seoul as a consequence of humanity's globalisation and 

overconsumption in a technology-controlled dystopia. The depiction of the story in South Korea 

seems to serve as a symbol to reinforce the vision of a threatening, foreign Orient. By portraying 

an Asian country as the epitome of a dangerous and dystopian future, the film constructs a 

consumable image of the Orient by emphasising recognizable Otherness, aligning with Western 

perceptions of East Asia (Shin, 2017). 

Moreover, Asian characters in Western sci-fi are portrayed as cyborgs that are 

inherently robotic, and machine-like. They are labelled with characteristics nerds, workaholics, 

and competent yet socially awkward, unfeeling, cold, and anti-social, which reflect Western 

beliefs regarding East Asian culture and identities (Morley&Robins, 2002). In Ex Machina 



29 
 

(2014), the character of Kyoko is initially introduced as a Japanese woman who works as 

Nathan’s live-in housekeeper, in charge of various household tasks such as cooking and 

cleaning. Kyoko’s racialized body demonstrates the quintessential techno-Orientalist trope of the 

silent, obedient, servile East Asian cyborg. She is perceived as much closer to a robot even 

before the audience finds out that Kyoko is in fact a humanoid of Bateman’s creation. The 

representation of Kyoko with racial signifiers like her yellow skin tied with technology reveals 

the techno-Orientalist constructions of her racial identity as inherently robotic. This portrayal is 

reinforced by the contrast between Kyoko the Asian, and Ava, the Western. Unlike Kyoko, Ava 

showcases her proximity to humanity through her linguistic proficiency, intelligence, and 

whiteness, Kyoko's artificiality is accentuated by her docility, obedience, and silence. Ava's 

warmth, curiosity, flirtatious nature, artistry, and kindness are all depicted in alignment with her 

whiteness. On the other hand, Kyoko's portrayal in the film consistently depicts her as 

indifferent, cold, apathetic, and even soulless. This characterization aligns with the techno-

Orientalist construction of the East Asian body, often depicted as indistinguishable from robots. 

These representations in films reinforce and perpetuate harmful stereotypes about East Asian 

individuals and their supposed lack of humanity (Lu, 2021).  

Finally, the objectification of Asian women represents a significant manifestation of 

techno-Orientalism in Western science fiction films. East Asian women have been consistently 

portrayed as exotic objects of sexual desire in the West since colonial times. They are 

represented in a hypersexualized image of a young, petite-figured, small-eyed East Asian woman 

clad in skin-tight clothes (Mulvey, 1975; Tseng, 2019; Tsang, 2020). Beyond their sexualisation, 

Western society tends to perceive East Asian women as inherently passive, innocent, submissive, 

and obedient—stereotypes deeply rooted in colonial fantasies of power and domination over the 

exotic. These portrayals not only perpetuate harmful stereotypes but also contribute to the 

objectification and marginalisation of East Asian women in both media and society at large. 

Kyoko from Ex Machina (2014) portrays this techno-Orientalist trope. In the film, she is 



30 
 

frequently depicted unclothed or wearing minimal attire, with her clothing—or lack thereof—

defining her personhood, or rather, objecthood, solely through her yellow skin. Serving as 

Bateman's personal sex attendant, Kyoko's relevance to the plot is predominantly ornamental. 

Her existence is characterised as a literal tool for sexual pleasure, thus embodying her racialized 

figure as already existing as an object. Hence, she is depicted as always sexually available to the 

white hero. (Lu, 2021)  

 

2.2. Exploring Arab Representation in Western Sci-Fi Cinema: 

2.2.1. The Representation of Arabs in Western Cinema 

As mentioned in the previous chapter, Western films tend to portray Arab culture in a 

negative light by either inverting or subverting reality. The industry provides images of the non-

European as an "Other" in which almost any opposite definition of the self is possible. Various 

stereotypes often subtly or blatantly dominate most representations of Arabs by the West. These 

representations, earlier, before 9/11 often moved between two images according to the dominant 

social and political situation, it is either the images of Arabs as nomads or as palace Arabs. The 

first image portrays Arabs as primitive desert nomads, whereas the latter image cloaks them in 

the context of exotic luxury and decadence (Kolić, 2017). Both images are significant in their 

prevalence and relevance to Western films of different eras. 

The most important images of the nomad Arab are the "camel jockey" or the "terrorist." 

The former image comes from the place of stereotype where all Arabs are Bedouin and still, to 

this day, are riding camels in the desert. This image has been played in many films ranging from 

the The Sheikh movie released in the 1920s where Arab men are portrayed as misogynistic and 

rapists (Ironically enough it was the white man) and Arab women as agency lacking (Moumni 

2009) to Disney's Aladdin 1992 of which its opening song lyrics was later altered due to its 

Orientalist suggestions. This image of Arabs as “backward desert people” is not exclusive to 



31 
 

previous western cinematic works but rather still holds till very recent productions, such as Dune 

film which will be analysed in detail in the following chapter. However, it is also important to 

note that the terrorist image with regards to Arabs has been significantly magnified in post-9/11 

American cinema. Most films dealing with political issues in the Middle East show the 

revolutionary Arab as a terrorist or an Islamic fundamentalist whose only goal is the destruction 

of the West. Hollywood narratives started to often reflect U.S. foreign policy and real-world 

terrorist events mainly starting the 21st century. According to Evelyn Alsultany, a leading 

scholar in the history of representations of Arabs and Muslims in U.S. media the Bush 

administration propagated the “they hate us for our freedom” narrative right after-9/11 and used 

this narrative to initiate and justify the War on Terror. This policy justified discrimination and 

led to increased prejudice against Arabs and Arab Americans, who were now seen as threats 

(Kolić, 2017).  In a recent compilation of various films, a video entitled Reel Bad Arabs: How 

Hollywood Vilifies a People depicts 17 specific Arab characters in the span of 5 minutes coming 

from different films. Although these characters have different roles such as sex offender or 

greedy Arab, each of the 17 images comes together in the portrayal of the Arab as a violent 

menace (Shaheen, 2001).  

2.2.2. The Representation of Arabs in Western Science Fiction Cinema 

Stereotypical portrayals of Arabs within the constraints of science fiction do not fall too 

far from the earlier and crude images perpetuated through earlier cinematic and television 

programs. Characters appear one-dimensional, found mostly as terrorists, sleazy salesmen, or 

abusers of women (Kolić, 2017). While the "good" and "bad" character roles are constant within 

Hollywood, the portrayal of Arab characters as primarily wealthy, hypersexual old men and 

young hysterical villains has further deepened Arab social anathema. However, Aysha (2020) 

argues that “[...] it is not so much the vilification of Arabs and Muslims in Western sci-fi but 



32 
 

how unimportant they are,” which goes to show that a considerable part of Arabs’ representation 

in western Sci-Fi is in fact no representation at all. 

2.2.2.1. Arabs as the Villains 

In many films that involve clashing of civilizations, there is often a "villain" who 

embodies the "other". Stemming from Edward Said’s thought, this character is generally an 

outsider from the civilization in which the film is produced, and as such, this character as 

"Other" is portrayed as being a threat to the welfare of the "home" civilization. If we continue 

with Said's idea that Orientals serve as foil characters, here we see the Arab being a foil for the 

"Western" hero. An example can be seen in the science fiction film Iron Man (2008), a film 

illustrating a hero figure (Tony Stark) in modern society. Iron Man is an embodiment of Western 

technological fantasy and progress. The enemy in this film is a group of terrorists from 

Afghanistan headed by a man named the Mandarin. Throughout the film, Iron Man is portrayed 

as being vastly superior and having too much progress in his technology for the terrorists to 

effectively deal with. This is contrasted with the portrayal of the Mandarin, who forms a 

supervillain persona with rings of power and plots of world domination. This character serves as 

a mere foil for the American hero. It is the embodiment of the Middle Eastern/ Arab as 

inherently inferior to the Westerner yet still a potential threat of power and control of the 

Western world. 

 Another example of this is in the film The Mummy (1999). Although not quite Sci-fi classified, 

the fantasy film serves as strong support to the previously mentioned points. The Mummy is a 

film about an ancient Egyptian priest, Imhotep, who is brought back to life and threatens to bring 

ancient plagues upon the earth and serve his own world order. Throughout the film, Imhotep is 

faced by a group of American heroes who endeavour to stop the destruction of the world and its 

people by the mummy's hand. The character of Imhotep serves as an embodiment of the West's 



33 
 

idea of the threat of the Arab's potential for destruction and power upon the Western world 

(Mecheri, 2023; Almansour, 2023).  

2.2.2.2. Arabs as “Unimportant” 

Even though it is tempting to only argue that Arabs are only vilified in Western SciFi, 

as it serves the general purpose of the study, it is important to note that a considerable part of the 

representation is deemed to depict them as “un-important” (Aysha,2020). The Arab character 

would barely make an influence in the development of the plot and would exist only for the sake 

of convenience or because the setting simply necessitates that. Aysha (2020) takes an example 

in Robert Heinlein’s Stranger in a Strange Land and Starship Troopers (2014), where the image 

of Muslims in his world is positive. However, it is only to his standards, as they are always 

portrayed as the Assassins (Hashshin). That is, heterodox Ismaili Shiites who deviate from 

mainstream Islam by practicing adultery, having extramarital sexual relationships, heavily 

consuming alcohol, and refusing to accept the Qur'an as God's true and final message. Which 

made it quite fitting for his goals to pave the way for the upcoming prophet Valentine Michael 

Smith and criticise established religions. Moreover, another example is one that replicates the 

“white saviour” narrative, which is that of the Fremen in Herbert’s Dune Chronicles who, 

despite their important role in the development of the book series, never seem to “get their act 

together” unless the Agamemnon step up to their rescue (Aysha, 2020). 

This kind of representation has a long history in the literature of the West, as John 

Carlos Rowe documents in his publication Arabia fantasia: U.S. literary culture and the Middle 

East (2012), and Orientalism in Poe's Early Poetry (2018). In Rowe’s research of Edgar Allen 

Poe in particular, it appears that, as much admiration Poe had had to the spiritualism and heroism 

of the Orient, his "romantic Orientalism seems more stylistic and rhetorical than a commentary 

on the culture, politics, and religions of the Middle East" (p. 3). Limiting once more the 

portraying of Orientals within no more than a mere aesthetic light (Aysha,2020). 



34 
 

2.2.2.3. Arabs beyond the Stereotypes 

When it comes to science fiction as a cinematic genre, portraying certain peoples and 

geographies can shift according to what best suits the purpose of the work and the kind of 

futuristic setting the filmmakers want to put forward. For that reason, the representation of 

Arabs, as negative and marginalised can often be altered into a more tolerated representation. A 

good example of that is the Star Trek: Deep Space Nine science fiction series where the 

character of Dr. Julian Bachir is depicted as an intellectual and a medical officer. Dr. Bashir’s 

character breaks away from the traditional mould of Arab characters in western sci-fi cinema. 

His character shows depth and complexity and is integral to the storyline of the series, 

challenging usually apparent negative stereotypes with regards to Arabs.  

                  Whilst Star Trek attempted to move away from negative stereotypes and provide a 

more authentic portrayal of Arab culture, it is important to understand and to not underestimate 

the seriousness of continuing to revive Imperialist narratives through negative and marginalised 

representations of Arabs and Muslims. Another aspect to be considered is that the representation 

of Arabs in Sci-Fi western cinema is one that can be directly related to politics, society and 

culture of the time. It is argued that the basis of Hollywood and cinema in the west as being 

ethnocentric and the lack of understanding of Arab culture undoubtedly leads to the negative 

portrayal of Arabs. With the current situation in the Middle-East, these films are not simply a 

response to the region but are also a perpetuation of propaganda emerging from western politics, 

to the people of the west (Shaheen,2001). 

Conclusion 

          In examining the concept of techno-Orientalism and its manifestations in Western sci-fi 

cinema, this chapter has highlighted the persistence and evolution of orientalist discourse. 

Techno-Orientalism reconfigures traditional stereotypes, portraying East Asian cultures as 

hyper-technological yet fundamentally alien and dehumanized. Through a brief analysis of films 



35 
 

like Blade Runner, Ex Machin, and Cloud Atlas, we see how these narratives perpetuate 

exoticism and otherness, reinforcing Western dominance. Moreover, the representation of Arabs 

in Western cinema often oscillates between vilification and marginalization, reflecting broader 

socio-political biases. While some portrayals, such as Dr. Julian Bashir in Star Trek: Deep Space 

Nine, challenge stereotypes, they remain exceptions. 

 

 

 



 
 

        

 

 

 

 

 

 

 

 

 

 

CHAPTER THREE 

Arabs in the Future Locked in the Past: Dune Film as 

a Case Study  

 

 

 

 

 

 



 
 

Chapter Three: Arabs in the Future Locked in the Past: Dune Film as a Case 

Study  

 

Introduction …………….....…………...…………………………..............……………….......35 

3.1. Analysing Common Science Fiction Themes in the Film ……...………………...........37 

3.2. Characters.......................………..……...……………………………………….….......39 

3.2.1. The Portrayal of Great Houses as Superior……………………………….……….39 

3.2.2. The Portrayal of Paul Attreides as a Savior……………………………..………....41 

3.2.3. The Portrayal of The Freman as Inferior…………..………………………………43 

3.3. Setting …........….......................………...……………………………………….….....46 

3.3.1. The Portrayal of Arrakis as Harsh and Hostile…..……………….……………….46 

3.4. Themes Where Techno-Orientalism Manifests………………………………………..48 

3.4.1. Spirituality & Mysticism………….……………………………………………....49 

3.4.2. The Spice…………….……………………………………………………………50 

3.4.3. A White Savior as The Messiah…………..……………………………………….51 

Conclusion………….….......…………...…………………………..............……………….....53 

 

 

 

 

 

 



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Introduction   

In this concluding chapter, the themes, characters, and settings of the film Dune will be 

analysed to explain how they intersect with the portrayal of Arabs in Western science fiction and 

the concept of techno-orientalism. We will explore how the depiction of the Fremen, the desert 

environment of Arrakis, and the power dynamics between different factions contribute to the 

discourse surrounding Arab representation in media. By examining these elements, we aim to 

shed light on how Dune either challenges or perpetuates Orientalist stereotypes and the notion of 

Arab inferiority within the context of techno-Orientalism. 

 

An Overview of the film Dune 

Denis Villeneuve's epic science fiction film Dune, which was first premiered in 2021, is 

the first of two parts that adapt Frank Herbert's novel of the same name from 1965. Legendary 

Pictures purchased the film and television rights to Dune in 2016, and Villeneuve joined as a 

director in February 2017. This marked the start of the project's production. Production contracts 

for the movie were only obtained for the first part. However, the creation of a sequel was 

contingent upon its box office performance and revenue. The film required a budget of $165 

million and generated a revenue of over $434.8 million. 

 

The original Dune novel, which serves as the basis for the movie, takes place more than 

20,000 years in the future. Frank Herbert was inspired to write the book after relocating to 

Florence, Oregon, and seeing the Oregon Dunes. Between 1963 and 1964, Analogue magazine 

published two articles that served as the basis for the first Dune novel. As more publications in 

the series have been released, it has become one of the best-selling science fiction book series 

worldwide. 

The story of the film takes place in a far-off future 20,000 years ahead, and centres on 

Paul Atreides, played by Timothée Chalamet, a bright and talented, almost chosen, young man 



36 
 

who was born into a grand destiny that he seems to not fully embrace in the beginning. To secure 

his family, House Atreides, and his people's future, he must journey to the desert planet Arrakis, 

the universe's most hazardous planet populated by the Fremen–the planet’s natives. Arrakis is the 

only source of “Spice;” a valuable substance that extends human life, enhances mental abilities, 

and the only means to navigate space. Nevertheless, ruling Arrakis is not an easy endeavour as 

other powerful tribes such as the Harkonnen try to cease the spice in Arrakis too.  

The film’s main characters are as follows: Timothée Chalamet as Paul Atreides, the heir 

of House Atreides who follows his family to the dangerous desert planet Arrakis. Rebecca 

Ferguson as Lady Jessica Atreides, she is Paul’s mother, a member of the Bene Gesserit, an 

exclusively female group of humans with advanced mental and physical capabilities. Oscar Isaac 

as Duke Leto Atreides, the patriarch of House Atreides, tasked with overseeing the running of 

Arrakis by the Empire. Stellan Skarsgård as Baron Vladimir Harkonnen, the Baron of House 

Harkonnen, which ruled Arrakis for 80 years before being forced out by the Empire. Javier 

Bardem as Stilgar, The leader of the Fremen, a tribe native to Arrakis. Golda Rosheuvel as 

Shadout Mapes, the head housekeeper in the Imperial Residence in the city of Arrakeen on the 

planet Arrakis when the Atreides took control of that planet. Sharon Duncan-Brewster as Dr. 

Liet Kynes, a leading ecologist and peacekeeper between the Fremen and the Houses.  

Frank Herbert, the author of the Dune series, was heavily influenced by the Middle East 

and its historical context as well as its geopolitical atmosphere. This influence manifests in his 

novel (as well as in the film) in various manners. To begin with, in one of his interviews, Herbert 

affirms that science fiction is not baseless and that his novel stems from an anthropological and a 

historical understanding (of the middle east). In the same interview, he mentions that water as a 

resource in Arrakis is a metaphor of oil in reality. Water in Dune is scarce and valuable just as 

oil is in the world. Also, Herbert shapes the Fremen as dark-skinned Bedouin-like people, 

resembling Middle Easterns. In another interviews, he describes the Fremen as people who are 

somewhat recognizable but who also come from a different culture than his. Herbert also wrote 



37 
 

Dune with the Messianic theme in mind which reflects his interest in the religious aspect of the 

region.The allusions to the Middle East in both the novel and the film are unmistakable, 

especially as the novel came on the heels of the oil boom in the Gulf states around the sixties. 

In Dune, the development of the plot reveals how the East is consistently poorly 

positioned in Western Cinema. Paul Atreides, the protagonist played by Chalamet, is depicted as 

a saviour for the people of Arrakis, which is a repetitive White Man’s Burdern trope in 

Hollywood, while the “other” people are portrayed as lost and incapable of self-government and 

would welcome the new stranger leader without questioning. 

3.1. Analysing Common Science Fiction Themes in the Film 

The analysis of Dune (both the book series and its 2021 film version), by Frank Jacob 

(2022) showcases how the narrative tackles themes and symbols that resonate with techno-

orientalism. Orientalism, as Edward Said defines, involves depicting Eastern cultures as exotic, 

antiquated, and fundamentally distinct from Western societies. In the film, these themes are 

evident through the subset of Orientalism; techno-Orientalism. Frank Jacob (2022) notes that 

Janet Kafka (1975), points out three evident themes that consistently characterise western SF 

narratives that appeal to the Western audience. These tropes, coated in Orientalism, are all 

implemented in the film’s plot as it unfolds. 

The first theme is Dictatorship and or Political Colonialism, where the relationship 

between Houses of the imperium and the indigenous people of Arrakis, the Fremen, reflects 

colonial power dynamics. The Fremen exhibit characteristics that are stereotypically associated 

with Orientals, the people are dominated by the Imperial Houses and their most sacred resource, 

the spice, is being harvested by the colonisers. Techno-Orientalism is quite evident in this 

futuristic and technologically advanced setting where the Fremen, as advanced, equipped, and 

adapted to the desert as they are, are still shown as backwards, superstitious, and most 

importantly dangerous. Imperial dynamics also manifest in the missionary work of Bene Gesserit 



38 
 

on Arrakis for centuries where they fed local beliefs that a saviour would come to lead the native 

people of Arrakis to paradise. 

The second recurring theme in Western SF works is Maintaining a planet’s ecological 

system; this shows in how the Spice is being harvested from Arrakis to be utilised in other 

Imperial planets to navigate the space and find new safe paths between the stars. Concerns with 

ecology also manifest in the scene where Dr. Kynes brings Paul and his mother to an old 

ecological testing station. She proceeds to tell them how Arrakis was meant to be tamed by 

utilising its underground water resources and turning it into a “paradise.” However, shortly after, 

spice was discovered and the Imperium was no longer interested in the planet’s ecological 

welfare. A historical parallel between Western imperialist exploitation in the middle east and 

The Imperium’s control over Arrakis can be easily detected. In the former, oil is the sacred 

resource, whereas in the latter it is spice. Futo and Nasehi (2023) go further to make a similarity 

in the names of Arrakis the planet, and Iraq the middle eastern country.  

The last SF theme tackled in the movie is The Spiritual Development of the Young 

Hero. Paul Atredis, who descends from both House Atreides and the Bene Gesserit and has more 

than one birth right, naturally ascends to the status of a messianic figure to the people of the 

Arrakis. In the beginning of the film, we see Paul as a young boy who is uncertain about wanting 

leadership but is pushed and encouraged by both his parents, Duke Leto Atreides and Lady 

Jessica. Both for their own reasons; Duke Leto wants an heir for House Atreides to lead their 

nation towards prosperity, even at the expense of the Fremen. Lady Jessica, on the other hand, 

believes Paul is the awaited Messiah to the people of Arrakis, “Al Mahdi” who is the product of 

centuries of cross breeding who is going to rule Planet Arrakis. With both visions at hand, Paul 

Atreides is destined to be the Fremen’s “white saviour.” Despite the Fremen being natives to 

Arrakis, and the spice being their own resource and their physical adaptation to it is shown in 

their blue eyes due to Spice exposure, they are yet to be able to self-govern and are in dire need 

of an outworlder leader to lead them. This narrative perpetuates Western superiority in an 



39 
 

evident techno-Orientalism trope; the Fremen, despite their adaptation to their land and their 

technological advancement are still shown as backwards and hostile in comparison to Paul and 

his people who are better equipped and more intelligent. Paul seems to naturally surrender to his 

destiny and grow from a confused boy to not only the man who is the Fremen’s leader but also 

their long-awaited Messianic figure towards the end of the film when the Fremen accept him 

after he kills one of their fiercest fighters (Futo and Nasehi, 2023). 

 

3.2. Characters 

The nature of characters in the Dune film, their roles, traits, and the relationship 

between them represent Orientalist tropes and stereotypes. 

3.2.1. The Portrayal of Great Houses as Superior 

To begin with, the great houses: House Herokennes, House Attreides, and House 

Corrino and despite the big difference between them, they all portray the Western side of the 

world. They are all represented in the film as the superior side that is fighting for control, and 

characterised by highly advanced technology. Firstly, each of the houses has a distinct way of 

gaining control and authority. Baron Herkonnes, the leader of House Herkonnes uses the cruel 

approach, by frightening people, blackmailing and threatening them to ensure their submission to 

his will. On the other hand, Leto Attreides, the leader of House Attreides uses softer ways, by 

winning the love of his followers and projecting an image of noble strength. Even though their 

ways differ, the aims of the great houses are the same: power and authority. On their way to gain 

this power, they find the Fremen who are the original and native people of Arrakis, the planet 

which contains “the spice,” a highly prized and addictive substance that is crucial for space 

travel in the Dune universe. 

 The relationship between the great houses and the Fremen is a superior-inferior 

relationship. In which, the three houses are the superior, this is represented in their dealing with 



40 
 

Arrakis as terra nullius–nobody's land–and as their possession. In the very first scene of the 

movie, Chani, a Fremen girl explains that her home “Arrakis” has been governed by outsiders 

since her birth. The emperor who is the leader of House Corrino, one day takes Arrakis from the 

Harkonnens and gives it to Attreides as if the planet of Arrakis is an object that is taken and 

given, neglecting its native people’s opinion. Arrakis, the home of the Fremen becomes Attreides 

with only a stamp, Leto Attreides inscribes the agreement and after he finishes, he turns to the 

emperor’s representative and asks him “So it’s done?” (Villeneuve, 2021, 00:10:12) marvelling 

at how easy it is.  Secondly, the film portrays the three houses as technologically superior. They 

possess highly advanced tools and machines like giant spaceships, ornithopters which are the 

most common transport vehicles in the imperial and are also used for military operations, spice 

big harvesters and advanced shields which react and stop when they interact with weapons. 

Simultaneously, their military powers are depicted as very strong armies in terms of number, 

equipment, and military plans. The House of Attreides for example developed sign language that 

can be understood only by their followers. Finally, the great houses’ colonisation of Arrakis, 

imposing their control over its native population, and exploiting their resources is justified 

through their superiority lens. 

 Deeply rooted in the “White burden” trope, the great houses justify their colonisation of 

Arrakis as a mission to protect it and bring order and progress to it. This view is evident in their 

treatment of the Fremen as inferior, in need of control and guidance. In the scene where Leto 

Attreides is given the responsibility to govern Arrakis he says: “The Emperor asks us to bring 

peace to Arrakis, House Attreides accept,” (Villeneuve, 2021, 00:09:12) he also said when he 

met Stilgare, the Fremen leader, “The Emperor has given me Arrakis as my fief to rule and 

protect. I cannot promise to do not travel into the desert if the duty compels me.” (Villeneuve, 

2021, 00:54:33). Therefore, Attreides' statements reflect the great houses' feeling of supremacy 

over the Freman and how they justify their colonisation with the argument to protect and civilise 

them. However, the Fremen seem to be aware of the great houses' real aims of colonising their 



41 
 

planet, Kynes who serves as the judge of the change comments: “Arrakis could have been a 

paradise. The work had begun but then the spice was discovered, and suddenly no one wanted 

the desert to go away” (Villeneuve, 2021, 01:46:00). 

 

3.2.2. The Portrayal of Paul Attreides as a Savior 

Played by Timothée Chalamet, the character of Paul Atreides in the Dune film serves as 

a white saviour to the Fremen. This is reflected in his representation with superior abilities, 

adaptability to the Fremen culture and his possession of prophetic traits. First of all, Paul 

Atreides was born to a noble family. His father is Leto Atreides, the leader of House Atreides 

and his mother is Lady Jessica a member of the Bene Gesserit sisterhood. Apart from his noble 

blood, Paul Atreides is demonstrated with other abilities that set him superior. Thanks to the 

rigorous training he has taken, Paul is represented as a good warrior in terms of sword fighting 

and tactical warfare. His combat skills are exhibited in the scene when Paul fights Jamis, a 

respected Freman warrior and kills him. Defeating Jamis, even though he is not used to the 

nature of this fight nor to the sword used or the costume he wears as this fight is one of the 

Fremen rituals, his victory against the Fremen warrior proves his superiority in combat skills and 

his capability to lead and protect the Fremen. Furthermore, Paul inherits other advanced and rare 

skills from the Bene Gesserits. Such as the Voice, a technique that allows him to make others 

obey his will.  

Second, the character of Paul Attreides is an outsider of Arrakis and external towards 

the Fremen culture. However, unlike other outsiders, Paul has easily adapted to the planet and 

the culture as if he is a native-like. This is depicted in several scenes within the film. In one of 

the scen