Rebuilding the Symbolic Boundaries between the East and West: Occidentalism in 'The Battle at Lake Changjin'

Abstract

The article explores the concept of Occidentalism and its portrayal in the recent Chinese blockbuster film, The Battle at Lake Changjin. The author contends that the movie represents a resurgence of Occidentalism in Chinese popular cinema, reinforcing the East-West binary and promoting a narrative of Chinese superiority. The discussion begins by contextualizing the historical origins of the East-West binary and its role in shaping Western identities and justifying practices like colonialism. The article also highlights the intricate complexities and contradictions within the film, as well as its implications for China’s cultural and political landscape, specifically the shift in China’s attitude towards the West during President Xi Jinping’s tenure. The article emphasizes the growing closure of the Chinese mindset, exemplified by the adoption of “wolf-warrior diplomacy” and the portrayal of the West as an adversary in the media. This shift is also discernible in Chinese popular cinema, exemplified by films like Wolf Warrior 2, which depict Chinese protagonists triumphing over villainous Western characters. The author underscores the essentialist portrayal of the Chinese in The Battle at Lake Changjin as morally and spiritually superior to their Western counterparts. By creating a stark binary opposition between the East and West, the movie accentuates cultural differences and constructs them as insurmountable. Additionally, the article explores the film’s narrative structure, its influences from Western and Chinese cinema, and the depiction of key characters, including General Douglas MacArthur and Mao Zedong.