Editing

• Orientalist perspective in Sofia Coppola’s Lost in Translation: self-identity and cultural misunderstanding  

  
  

• The main focus in (context of - not needed) travel literature is often centered around the debatable concepts of cultural representation and identity, which also plays a significant role in movies shot in foreign locales. Research in the field (discipline- instead of discipline I would use the word field) of literary criticism demonstrates that narratives displaying travel in non-Western contexts often perpetuate(s- no s) cultural stereotypes, reinforcing the (or a) Western-centric worldview. (can remove: can the foundation Orientalism theory by) Edward Said's theory of Orientalism highlights the way Western media constructs the East as an exotic “other”, framing it (not is) as mysterious and confusing rather than culturally specific (134). Hamdi expands on this concept in Edward Said and Recent Orientalist Critiques, describing how colonial narratives often display (display or portray..not displays..) non-Western cultures as chaotic and unchanging. These cultures are often depicted as gaining significance and visiblity only when (not needed: the only way that they can be bold and be seen is when) they are tied to Western civilization.  Pope and Garrett further explore and focus- just focus, not focuses on how cultural (not necessary: differences) and legal differences can cause critical issues, particularly in how non-Western cultures are treated particularly when Western superiority dominates these cultural differences through the media (169). McGowan’s analysis of “culture of excess -no space there.. “__(space here)emphasizes how global capitalism seduces individuals into a continuous cycle of consumerism, that confirms(not confirms I don't think. could use 'affirms and reinforces'? or just 'reinforces'? ) this dissatisfaction (54). While these researchers have addressed issues of cultural representation in (a or the travel context ) travel context, there is limited discussion of how these misrepresentations shape the protagonist’s self-identity, behavior, and interactions within a foreign culture. I ask, how does Lost in Translation depict Japan in a way that reflects Orientalist views, particularly in terms of how (--- what character, the, a.. - need a or the or something before character?) character’s self-identity and behavior, specifically their interactions, are influenced when they encounter a culture they see (change see to perceive or view?) as a (no a - can take that out.., if you want to use a you need to say a foreign one.. ) foreign? I argue that Sofia Coppola’s Lost in Translation Critiques (small c in critiques? or is it a title.. ? ) the limits of cultural understanding through its portrayal of Japan as a backdrop for Western self-discovery, while simultaneously promoting (or perpetuating.. not sure which one you want to use..) preconceived Orientalist Stereotypes ( - small s on stereotypes). Writing in the discipline of literary criticism, using methodology of close reading, and (I - can take out the and and start the I statement here, so trade the and for I ) drawing ( so it reads I draw ... ) on Hamdi’s theoretical perspective of postcolonial theory, I (no I .. just 'to') to show how Tokyo (take out has and add comma), shown as a backdrop of Eastern culture and as a foreign environment reinforces cultural misunderstandings. Also, (or additionally) I show (or demonstrate, or explore.. ) how the protagonist’s journey is tied (take out ties ) with (to ?) it in terms of (- take that out and swap for through) their interactions within the culture and their sense of self- identity. Scenes of Bob Harris and Charlotte interacting with Japanese environments and each other display (demonstrate or point to? ) how travel in unfamiliar culture can provoke reflection on identity and belonging while also expose (exposing , also take out the to.. just exposing the risk..) to the risks of cultural misrepresentation. The beginning of the movie illustrates the sense of isolation felt by Bob and Charlotte in Tokyo, a city that feels alien to both of them. In the scene where Bob’s commercial shoot takes place, it aligns with McGowen's (54) concept of the “culture of excess” in global capitalism. The whisky commercial itself is meaningless and capturing (captures? ) the emptiness of consumer culture. This fits with McGowan’s idea that global capitalism, exemplified by Bob’s surroundings of luxury, yet accompanied by his sense of disconnection, unfulfillment, and loss, emphasizes the false promise of excess in a capitalist culture. Additionally, in the scene where the director shouts a series of instructions in Japanese, the translator minimizes (shortens or briefens) them to just few words and translates to “Turn from the right with intensity” (Coppola), Bob surprisingly replies, “is that all he said?”(Coppola), which illustrates his frustration with both the process (situation? answer? ) and the cultural gap.   In the karaoke scene, Bob and Charlotte temporarily step outside their usual roles and identities, connecting emotionally in a foreign setting. Bob’s performance of “More than This” with meaningful glances toward Charlotte, emphasizing (emphasizes?) .. bob's performance, with.. , emphasizes) their growing bond. Charlotte’s response, smiling warmly and looking intently at him, further emphasizing (emphasizes?) their shared connection. However, while this moment highlights their emotional connection, it also underscores their status as outsiders in a foreign environment. As Pope and Garrett discuss in America’s Homo Sacer : Examining U.S. Deportation Hearing and Criminalization of illegal immigration, individuals often experience a “ state of exception” when placed in unfamiliar cultural contexts _ (space here) (169). This “state of exception” is (refers to., no is) the situation where people are treated as foreigners due to the cultural and systematic differences. Likewise, in the karaoke bar, Bob and Charlotte experience emotionally connected (emotional connection), yet they are still surrounded in (-change in to by) a different cultural (culture ) that depicts the (thereby depicting a ? ) space where there is a combination of both familiar and foreign. This dual experience displays (no displays- shows or demonstrates that) even though the feeling of intimacy is there, still there is (take out still there is) the concept of cultural differences is still there, and (take out and) leaving the sense of otherness that aligns with the “state of exception” that Pope and Garrett describe. In the temple scene, where Charlotte goes to the shrine and encounters with (witnesses? observes?) Kyoto’s religious practices and watches the monk chant, Charlotte feels that there is no emotional connection and when she calls her mother she states, “I did not feel anything”. This supports reflects (pick one of these words or say This support reflects.. if that's what you are aiming to convey) Hamdi’s critiques of Orientalist narratives, where Eastern cultures are depicted as inaccessible and mysterious, serving only as a backdrop for Western self-exploration (133). In the scene when = where Charlotte cries and calls her mom, and is ( - remove)saying, “I don’t know what I’m supposed to be doing”, it highlights her confusion and isolation in the unfamiliar setting. These moments reinforce the Orientalist theory of Western cultures towards Eastern cultures that cause Charlotte feels - to feel overwhelmed and sense of alienation (aliented.., not sense of alienation) and making her-(take out the hyphen) self exploration seem superficial against (compared to?) an exoticized (exorcised) Japan. Sofia Coppola’s Lost in Translation explores cultural disconnection by using Japan to reflect on Western self-exploration while (add 'at the same time ' ?) reinforcing Orientalist stereotypes. Drawing on Hamdi’s ideas on cultural misrepresentation, Pope and Garrett’s “state of exception”, and McGowan’s “culture of excess”, this analysis highlights how elements of Japanese culture elements-take out complicates-take off the film’s message. While the film provides a exploration of identity and belonging, it raises critical questions about the ethics of using foreign cultures as narrative devices. Further research might explore these dynamics through lenses of global media ethics, particularly in light of ongoing debates about cultural appropriation in film.