THE EXOTIC AND MYSTICAL EAST: AN EXPLORATION OF ORIENTALISM IN
SHANG-CHI AND THE LEGEND OF THE TEN RINGS (2021)
Geoiry
Liantoro
Universitas
Bangka Belitung
INTRODUCTION
Literature is a
creative work of art whose object is man and life using language as its medium (Saragih et al.,
2021).
According to (K, 2021), literature is factual material as formed by words,
neither targets nor feelings. Therefore, the results are written or conveyed
using stunning words to hook and influence the reader (K, 2021). With this, literary works can be used to see the
distant outside world, which includes the problems of human life reflected in
reality, then poured into various types of literary works and the use of
appropriate language, as well as the presentation of amazing words.
Literary works cannot
be separated from phenomena that arise through various aspects, such as
cultural, social, and other aspects that occur in people's lives. This
reflection of phenomena that occurs in the social sphere arises because of
problems that have occurred in the past and habits or customs because of these
problems are continued until now. Because of this, many authors, and filmmakers
have packaged this phenomenon into literary works that can be enjoyed by all. One
of the media that indirectly includes literary works that often display
societal phenomena or problems is film.
Film has become a mass
media that is not only amusement, but also a means for transmitting ideas that
can break through language and regional barriers (Christy et al., 2020). Film is a tool to convey various messages to
everyone through a story medium (Abrar et al., 2018). The stories can be based on other literary works
ranging from poetry, novels, prose, and drama that are remastered into films
that can be produced and marketed widely. The delivery based on the results of
this literary product gives an impression that is added unique, interesting,
and easy to understand. Because the film itself has audio-visual characteristics
which can provide interest to the audience and reduce boredom if someone does
not want to read a book. Film is a complex social, psychological, and aesthetic
phenomenon that is a document consisting of stories and images accompanied by
words and music (Refangga &
Triwedawati, 2020).
This makes films more widely produced to attract all groups to watch films that
want to convey their intentions and objectives to all. In that way, many things
are intended to make films so that there are understandings that lead socially
and culturally for the audience. Produce theories that arise because of the
influence of phenomena that have occurred from ancient times to the present,
especially involving several countries.
One of the theories
that has emerged due to the influence and involvement of the state in the
problems that have arisen from the past to the present is orientalism. Orientalism
was coined because the main field of study is post-colonialism. Post-colonialism
analyses and looks for friction between two cultures and when one of them has
great power and is superior to the other (Fernandi &
Haryanti, 2021).
This relates to the theory raised. The theory of orientalism was first coined
by an American philosopher named Edward Wadie Said in 1978 with his book
entitled ‘Orientalism’. He laid the foundations of his critical thinking on
issues in the field of post-colonialism. Orientalism or Oriental studies is the
name given to analyses of Eastern cultures, languages, or societies (Mert, 2015). Orientalism is a
school of thought based on the epistemological and ontological differences made
between the ‘East’ and the ‘West’ (Said,
1978). Orientalism is an umbrella term that
has been used to describe Western approaches to the East; Orientalism is
defined as a discipline used to approach the East systematically, as a topic of
study, enquiry, and practice (Said,
1978).
This approach was taken by non-Easterners, especially Westerners. Earlier it
was explained that orientalism is the westernised view of the east. From what
Said explained, orientalist People who teach, write, exploit, and research
about the Orient - and this applies whether one is a historian, sociologist, or
philologist - in some specialised or general field - are Orientalists, and what
they do is Orientalism (Said, 1978). Also, it is as same as according to (Abrar et al., 2018), orientalists are Westerners who research the East,
both academics and artists who have a specific purpose.
This concept was
studied by orientalists and in accordance with the theory of orientalism there
is also a connection with ‘Orient’ and ‘Occident’ which these two words refer
to the views of orientalism. The term orientalism describes a structured set of
concepts, presuppositions, and analytical practices used to produce, translate,
and pass judgement on knowledge about non-European societies (K, 2021). In this regard, non-European peoples are referred
to as ‘orient’ and Europeans as ‘occident’. The terms ‘orient’ and ‘occident’
are linked to double colonisation which leads to a binary opposition that
defines both single and double colonisation as closely linked to orientalism. Therefore,
in relation to dual colonisation, ‘the orient’ means the East and women, while
‘the west’ means the West and men. Men are more powerful and formidable than
women hence women were made as colonial subjects representing the ‘other’ both
for power, thrones and their male relatives as well as society (Fernandi &
Haryanti, 2021).
The idea or understanding of European identity as a particularly great identity
compared to all non-European nations and cultures (Said, 1978). In addition, there is the hegemony or dominance of
European ideas about the East, which emphasise European superiority over
Eastern backwardness, usually missing the possibility that a more independent,
or more sceptical, thinker might have a different take on the issue (Said, 1978). Therefore, this is an issue that is still very
much worth discussing at all times given that there are still things that are
seen as skewed but not as they should be.
In addition,
orientalism viewed eastern countries as having exotic and mystical
characteristics. They viewed easterners as irrational, believing in mystical
things, intellectually backward, and viewed as strange from Europeans. The
Orient is a European invention, and has been a place full of love stories,
exotic creatures, affecting experiences and panoramas, and extraordinary
experiences since time immemorial (Said, 1978). According to (Saidin & Rashid,
2022),
when one refers to Orientalism, the immediate thought is of a fantasy
constructed by Europeans of an ‘other’ world with ‘exotic creatures.’ The
Orient is often seen as an exotic people filled with practices, strange
experiences, customs that are arguably absurd to practice. Moreover, the orient
is also seen by westerners as a people who believe in and are closely
associated with mystical things. The main feature of mysticism is its
subjective character, whose irrational and even unquantifiable tendency is
towards a singular, individualised, classical experience of divine intervention
(Saidin & Rashid,
2022).
Because of this mystique, easterners cling to this idea, which easterners have
a habit of believing is crucial to accept. Hence, orientalism directs people,
especially westerners, to study, research, criticise and give a different view
to the existing easterners.
In the theory used,
orientalism, this research leads to the exploration of a film produced by
Marvel and researchers want to analyse the western view of the east. The film
is ‘Shang Chi and the Legends of the Ten Rings (2021).’ The film tells the
story of a fictional Marvel hero born to a Chinese boy named Shang-Chi (Simu
Liu) who lives in the city of San Francisco as a hotel car park attendant.
However, suddenly a terrible and mysterious organisation called the ‘Ten Rings’
attacked him. His father forces Shang-Chi to return to his base, after being
away for a dozen years, but he manages to resist. Shang-Chi realises that this
is the work of his father, Wenwu (Tony Leung), a leader of the ‘Ten Rings’
organisation.
Wenwu does this in
order to retrieve the pendants worn by Shang-Chi and his sister, Xialing
(Meng'er Zhang), because he believes that with them, he can find his way to the
mythical village of Ta Lo, where Shang-Chi's mother is from. Wenwu believes
that if he manages to open the mystical gate in the mystical village, his wife
will be freed, but she is not. So, Shang-Chi and his friend Katy (Awkwafina)
decided to look for Xialing and managed to find her and then they were both
caught by his father's organisation and imprisoned at his father's
headquarters. Long story short, they managed to escape and head to Ta Lo, where
he was greeted by their aunt Ying Nan (Michelle Yeoh).
Then, Wenwu and the Ten
Rings army also made it into Ta Lo village. They all had a big battle,
attacking each other. On the other hand, Wenwu manages to open a mystical gate
in the village and it turns out to have freed an evil creature called Dweller
in Darkness. After the battle, they managed to defeat the creature using the
magic of the ten magic rings previously possessed by Wenwu, as well as the
appearance of the mythological water dragon that dwells in the lake of the
mystical village of Ta Lo. They also managed to save the world by using Asian
martial arts performed by Shang-Chi.
This research aims to
blend the Asian culture in the film. The existence of exotic and mystic
elements derived from the understanding of orientalism expressed by the western
view. This article combines Edward W. Said's theory of orientalism (1978) with
a focus on the western view of the Orient which is said to be exotic and
mystic. By presenting a film that contains elements of eastern culture, namely
Asia (especially the Chinese region), this research wants to explore more how
the Orient can be said to be exotic and mystic as seen by the superior
‘occident’. Therefore, the theory of orientalism is used as a supporting tool
to explore the things in this film.
FINDINGS AND DISCUSSION
A. Orient as the exotic
Figures
1. The gate to the mystical village called Ta Lo.
Time’s
Duration: 1:02:31, 1:06:21, & 1:08:17
In this film, in the
scene above, there is a gate that leads to a mystical village called Ta Lo.
Before heading to the gate, in the first image scene they have to pass through
a very dense bamboo forest that covers all access to this village. The bamboo
forest has magical powers within it, such as being able to take on a life of
its own to protect the village of Ta Lo from the arrival of outsiders who could
pose a great threat. Ta Lo Village is described as an exotic village full of
beautiful and unique things that have not been touched by the outside world.
They close all access from the outside world so that things that should not be
seen, cannot be touched by outsiders. They use ancient and magical powers to
guard the entrance to their village. The forest that this village has is also
in keeping with the film, if westerners see it then it makes no sense that
easterners hold these legendary beliefs. Inside the Ta Lo village there are
exotic landscapes and seemingly closed in order to maintain its sustainability
so that not just any outsider can enter here. This illustrates that this place
is a strange world and attracts the attention and gaze of westerners.
Figures
2. Traditional war attire worn by local residents of Ta Lo village.
Time’s
Duration: 05:49 & 1:18:54
In the two images above, the scenes shown are about
the exotic clothing used by the villagers of Ta Lo. The leftmost image shows a
woman who is the mother of Shang-Chi wearing the typical attire of her village
while fighting with Wenwu and demonstrating exotic and aesthetic martial arts.
In addition, the rightmost image shows the traditional battle attire used by
some Ta Lo villagers to fight the ‘Ten Rings’. They use them and show how
sacred the war is to the easterners, as if they have to prepare for it very
well. This is seen by westerners as exotic, especially the traditional Chinese
clothing which is beautiful and stunning, and aesthetic especially combined
with fighting. This also supports the fighting moves that they will perform.
B. Orient as the mystic
Figures
3. Mythological creatures in Ta Lo village.
Time’s Duration:
1:07:28, 1:07:55, & 1:08:29
In the images above, scenes are shown of
mythological creatures from Ta Lo village that are believed to be legends.
However, these scenes show some of the animals that Chinese people believe in.
There is a white nine-tailed fox (Huli Jing) that is believed to have magical
powers and can change shape. In the second picture, there is a herd of animals
that resemble horses and have dragon-like scales. According to the Chinese, the
animal is called Qilin. It is depicted as a four-legged creature with a
beautifully coloured body. Qilin symbolises prosperity and peace. Furthermore,
there is an animal that resembles a giant lion called Shishi. This animal
symbolises the guardian or protector of the entrance from the danger of evil
spirits that disturb the peace. The appearance and stature of these animals is
exotic and magical, and has a mystical element. This leads westerners to
believe that easterners are irrational, as they seem to believe in these
mythological creatures.
Figures
4. The mythological appearance of the sacred water dragon and the monster
Dweller in Darkness.
Time’s Duration: 1:40:19 & 1:51:00
Further mythological
matters include the appearance of the water dragon and the monster imprisoned
at the mysterious gate in Ta Lo village. In Chinese culture, the dragon is
symbolised as a guardian, bringer of good fortune, and lord of water. In the
film, the dragon is depicted as a sacred creature that protects the village of
Ta Lo from danger. Dragons represent the elements of goodness and happiness,
but not in the judgement of European societies and Christianity, which believe
that dragons are bad creatures (Refangga & Triwedawati, 2020). Dragon is
symbolised as a religious being and essentially acts as a bridge or link
between humans and the eternal afterlife (Refangga & Triwedawati, 2020).
Therefore, the Chinese people have a good belief in dragons and are represented
in this film as an animal that is honourable and can protect humanity. As
shown, the dragon is fighting a monster called ‘Dweller in Darkness’ which is a
demonic entity trapped behind a mystical cave in Ta Lo village. Although this
creature is not a creature from the original Chinese mythology, it reinforces
that the east itself is a repository of dark and magical powers, as well as
threats that defy western logic. The creatures above reinforce the symbolism of
the east as full of mystical things that are difficult for western eyes to
understand.
Figures 5. A
martial arts style with aesthetic and magical powers.
Time’s Duration: 1:18:54 & 1:46:43
Chinese culture is
inseparable from aesthetically pleasing martial arts. As shown in the two
images above, there is a martial arts style but it is mixed with magical and
mystical powers. The first picture on the left shows Shang-Chi's aunt Ying Nan
demonstrating a beautiful fighting style while training with her nephew. She
releases her magical energy by moving the leaves around her using her mystical
powers. In addition, the second image on the right shows Shang-Chi demonstrating
a martial arts style mixed with the power of his father's ten rings. The ten
rings are said to be ancient power objects thousands of years old according to
the legends in the film and add to the irrational and mystical eastern
elements. The depiction of martial arts elements mixed with mystical powers
further adds to the belief of the occident's view of the orient as seen from
the scenes above. These scenes can be seen as a tactic to show that eastern
culture has an aesthetic beauty that is different from other countries'
cultures, especially when seen from a western perspective.
CONCLUSION
Orientalism makes the occident (west) view the
orient (east) as exotic and mystical. They believe strongly in the mystical,
magical and mysterious as beliefs that they must understand and apply. Because
of this, westerners view the east as irrational, ‘the other’, and difficult to
explain with western logic. As seen in the film Shang-Chi and the Legend of the Ten Rings (2021), the trigger for
westerners to judge this film is because of the exotic and mystical elements in
this orientalism theory. From the exotic clothing, the mystical closed village
scenery, the mythological creatures of Chinese legends, and the dragon that
symbolises the strong beliefs of the Chinese people in this film. Not to forget
the mystical and magical power that appears in this film by mixing exotic
Chinese martial arts. Therefore, the theory of orientalism is an appropriate
tool to analyse the exotic and mystical aspects of the film.
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