The Simultaneous Subversion and Reproduction of the Orientalist Fantasy: Focusing on Gallimard’s Death in the Film Version of M. Butterfly
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Whereas the existing scholarly works on the Butterfly story have centered either on Giacomo Puccini’s 1904 opera Madama Butterfly or on David Henry Hwang’s 1988 play M. Butterfly, this paper sheds light on David Cronenberg’s little-studied 1993 film M. Butterfly and critically approaches the issue of Western Orientalist fantasy revealed mostly through the character of René Gallimard. The main focus of this paper is to investigate the ways in which the film reproduces and strengthens the Butterfly fantasy while trying to subvert it through an in-depth analysis of the ending scene of the film, in which Gallimard kills himself during his performance as the Butterfly of Puccini’s Madama Butterfly. First, the paper shows how the film tries to deconstruct the polarization of and unequal power relationship between the West and the East, in which the West is usually associated with masculinity and the East with femininity. After that, it examines how the Butterfly stereotype is still sustained and is even strengthened in the process of deconstructing the binary opposition between the masculine West and the feminine East. A renewed analysis of the film can provide an opportunity to rethink the Orientalist view of the masculine West and the feminine East.
Abstract
Whereas the existing scholarly works on the Butterfly story have centered either on Giacomo Puccini’s 1904 opera Madama Butterfly or on David Henry Hwang’s 1988 play M. Butterfly, this paper sheds light on David Cronenberg’s little-studied 1993 film M. Butterfly and critically approaches the issue of Western Orientalist fantasy revealed mostly through the character of René Gallimard. The main focus of this paper is to investigate the ways in which the film reproduces and strengthens the Butterfly fantasy while trying to subvert it through an in-depth analysis of the ending scene of the film, in which Gallimard kills himself during his performance as the Butterfly of Puccini’s Madama Butterfly. First, the paper shows how the film tries to deconstruct the polarization of and unequal power relationship between the West and the East, in which the West is usually associated with masculinity and the East with femininity. After that, it examines how the Butterfly stereotype is still sustained and is even strengthened in the process of deconstructing the binary opposition between the masculine West and the feminine East. A renewed analysis of the film can provide an opportunity to rethink the Orientalist view of the masculine West and the feminine East.
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