시각적 이미지와 식민주의적 응시
Visual Images and the Colonial Gaze
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The postcolonial resistance to colonialism and neocolonialist ideas is concerned with, among other things, the ways in which the colonialist representations of the colonized peoples are constructed and maintained even after the official political colonial regimes no longer exist. The visual images have a significant role to play in justifying the colonial rule. The political project of postcolonial cultural critique is designed to uncover the ideology of the colonial gaze or the Western gaze that has been instrumental in "othering" or stereotyping the colonized Orient. In this respect, this paper examines a variety of visual practices in the colonization of Asian, African, and South American nations. The Orientalist visual representations, which are aligned with Eurocentric colonialism, is evidenced in such magazines as National Geographic. We can identify the Western controlling vision in the magazine that has transformed the colonized people in Asian, African, and South American countries into the primitive or "the exotic Other" opposed to the “normal” Westerners. This visual regime of colonization can also be found in the picture postcards depicting Algerian women. As Malek Alloula indicates in his The Colonial Harem, the picture postcards produced by the French in the early twentieth century are "the fertilizer of the colonial vision."This visual colonialism or the colonial gaze is embedded in the Odalisque paintings of Delacroix, Renoir, and Matisse. Their stereotypical visual representations reinforce the colonialist view of the Orient as a space of lascivious sensuality and violence, which eventually leads to the Western ruling over the Orient. In addition, we can find visual imperialism in most European museums and their ethnographic sections as well as the Western paintings or propertyscapes transforming the colonized land into the idealized pastoral landscape. Without overcoming our aestheticizing temptation, our own imperialized eyes could not be cured.
Abstract
The postcolonial resistance to colonialism and neocolonialist ideas is concerned with, among other things, the ways in which the colonialist representations of the colonized peoples are constructed and maintained even after the official political colonial regimes no longer exist. The visual images have a significant role to play in justifying the colonial rule. The political project of postcolonial cultural critique is designed to uncover the ideology of the colonial gaze or the Western gaze that has been instrumental in "othering" or stereotyping the colonized Orient. In this respect, this paper examines a variety of visual practices in the colonization of Asian, African, and South American nations. The Orientalist visual representations, which are aligned with Eurocentric colonialism, is evidenced in such magazines as National Geographic. We can identify the Western controlling vision in the magazine that has transformed the colonized people in Asian, African, and South American countries into the primitive or "the exotic Other" opposed to the “normal” Westerners. This visual regime of colonization can also be found in the picture postcards depicting Algerian women. As Malek Alloula indicates in his The Colonial Harem, the picture postcards produced by the French in the early twentieth century are "the fertilizer of the colonial vision."This visual colonialism or the colonial gaze is embedded in the Odalisque paintings of Delacroix, Renoir, and Matisse. Their stereotypical visual representations reinforce the colonialist view of the Orient as a space of lascivious sensuality and violence, which eventually leads to the Western ruling over the Orient. In addition, we can find visual imperialism in most European museums and their ethnographic sections as well as the Western paintings or propertyscapes transforming the colonized land into the idealized pastoral landscape. Without overcoming our aestheticizing temptation, our own imperialized eyes could not be cured.
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