DUNE : THE ORIENT, ORIENTALISM AND COLONIALISM
Everyone has heard of DUNE these past years, the new masterpiece by Villeneuve based on the renowned novels by Frank Herbert. To summarize the story in a few words, it is a science fiction epic set in a distant future where noble houses vie for control of the desert planet Arrakis, the only source of the universe's most valuable substance : the spice. The story follows Paul Atreides, whose family is entrusted with the stewardship of Arrakis, as he becomes embroiled in a complex struggle involving politics, religion, and the indigenous Fremen people, whose culture and survival are intricately tied to the harsh desert environment (It is almost a space-opera Game of Thrones, if you will).
While I enjoyed both movies, I believe they significantly failed to do justice to Arab, North African, and Islamic cultures, which appear almost hidden and purposefully ignored. This erasure, as many critics and journalists have described it, is less pronounced in the novels but greatly accentuated on screen.
Moreover, the claim that science fiction aims to erase reality strikes me as overly simplistic, when scholars, such as Darko Suvin, argue that “SF [should be] perceived as not impossible within the cognitive (cosmological and anthropological) norms of the author’s epoch [...] SF is a developed oxymoron, a realistic irreality, with humanized nonhumans, this-worldly Other Worlds” (1).
This oversight is deeply disappointing, especially in a world where the Orient is already heavily stigmatized and marginalized. Utilizing its symbols, language, and religion without explicitly acknowledging their origins is, to say the least, problematic.
I also find it troubling that there was only one actor of MENA (Middle Eastern and North African) heritage, and the leader of the Fremen being portrayed by a white, blue-eyed man, which hints at an underlying whitewashing. Even in the publicity campaign, MENA individuals were nowhere to be found. A notable example is a photo that went viral on Twitter, where Zendaya wore what appeared to be a design inspired by the traditional Algerian Karakou. Yet, this inspiration was never acknowledged…
I personally view this not as cultural appropriation, but more as cultural theft, - even if the term may seem too strong - due to its never-acknowledged and always-concealed nature (when talking about the cultures behind the movies, at least).
This is why I decided to write this essay, to shed light on the oriental world/culture portrayed in the Dune films (and how it was depicted), for without it, there would be no Arrakis.
THE BOOK AND THE FILM
SOME HISTORICAL BACKGROUND
The combination of geopolitical events, cultural productions, and intellectual movements in the late 1950s and early 1960s led to the popularization of Arabic language and culture in the West.
This period marked a wave of decolonization, with many Arab countries gaining independence, such as Egypt in 1952 and Algeria in 1962.
The era also witnessed the rise of Pan-Arabism, championed by leaders like Gamal Abdel Nasser, promoting Arab unity and identity, exemplified by the formation of the United Arab Republic.
Cultural production flourished, with Egyptian cinema reaching its golden age and writers like Naguib Mahfouz gaining international acclaim.
WHAT DID THE AUTHOR SAY ?
In Frank Herbert’s biography Dreamer of Dune, his son Brian Herbert confirms and writes about the numerous, real-life oriental sources that inspired his father's work :
(1) The Fremen take from MENA peoples : "Like the nomadic Bedouins of the Arabian plateau, the Fremen live an isolated existence, separated from civilization by vast stretches of desert. And like the Bedouins, the Fremen feel their lifestyle is superior to that of more civilized people". (I would like to point out the intriguing choice of words by Herbert's son here. While it's not the focus of this essay, I must note that it seems to align quite closely with white supremacy...).
(2) Their religion is a version of Islam : "Three of the world’s major religions. Judaism, Christianity and Islam . . . came into existence and grew in desert regions. In sand, in desolation. This was the canvas he needed for the complex story he wanted to write about a hero. He selected the most fanatical of the three faiths, Islam. The story would include an Arab-like world view, and the hero would be a messiah. He envisioned a desert messiah like the Mahdi or Mohammed on horseback, with a ragtag army on horse and camelback with him, thundering across the desert. This leader would be charismatic, capable of inspiring intense loyalty among his people. A power structure would develop around him". (Once again, the wording seems very problematic to me and underscores how Dune cannot be read and/or interpreted solely as an unfamiliar futuristic tale, de-anchored from reality...).
(3) Their language is a slightly modified Arabic : "The Fremen language is based upon colloquial Arabic, in a form my father believed would be likely to survive for centuries in a desert environment".
VILLENEUVE'S ADAPTATION
Villeneuve has consistently maintained in interviews that his directorial choices were all intended to be "true to the book". Speaking to RadioTimes.com, he says: "there are strong decisions that were made in order to bring this adaptation to the screen – these decisions have been made in order to be faithful to Frank Herbert". He clarified that his focus was more on "cinematizing" Herbert's vision, more than the dense lore of the novels : "So in some strange way, my goal was to be faithful to Monsieur Herbert and less to the book, more to Frank's vision".
All in all, Dune Part I and II are primarily a Psychic adaptation as Kamila Eliott formulated in Rethinking the Novel/Film Debate. It is a passing of the spirit of the text, one that "is commonly equated with the spirit or personality of the author", she writes.
This aligns with Villeneuve's devotion to preserving the authorial essence above all. Villeneuve's lifelong fandom of the Dune franchise only accentuates this commitment.
THE CHANGES
"Fidelity to the spirit of a text is typically accompanied by an insistence on the necessity of infidelity to its letter or form" Eliott adds, echoing Villeneuve's sentiments (in his citation above).
👉 What are the main infidelities then ?
THE CHOICES
THE ORIENT
🐫MIDDLE EAST🐫
SETTING
Arrakis is a desert planet characterized by its complete lack of natural precipitation, making water a precious and scarce resource meticulously conserved by its inhabitants. The planet lacks surface water bodies but utilizes qanats—open canals designed for controlled irrigation through the desert (such as the ones used to irrigate the date palm trees at Arrakeen in the first movie).
In Part II, we also see the Fremen’s underground water reservoirs that tell of their hope of one day terraforming Arrakis.
The planet's most iconic life forms are the giant sandworms and the desert jerboas, hopping desert rodents found throughout North Africa, such as the famous movie mascot known as Muad'Dib.
All these elements directly evoke the landscape of the Sahara Desert and the Middle East, as the planet’s desert draws significant inspiration from the Arabian Peninsula and Persian Gulf regions. The film's desert scenes were actually shot on location, for the most part, in Jordan and Abu Dhabi. Additionally, scenes featuring Taylor-Joy were filmed in Namibia, the driest country in sub-Saharan Africa. And, just for the anecdote, the romantic scenes between Paul and Chani were primarily filmed in remote locations in Jordan during the golden hour.
All these elements directly evoke the landscape of the Sahara Desert and the Middle East, as the planet’s desert draws significant inspiration from the Arabian Peninsula and Persian Gulf regions. The film's desert scenes were actually shot on location, for the most part, in Jordan and Abu Dhabi. Additionally, scenes featuring Taylor-Joy were filmed in Namibia, the driest country in sub-Saharan Africa. And, just for the anecdote, the romantic scenes between Paul and Chani were primarily filmed in remote locations in Jordan during the golden hour.
LANGUAGE
For Arabic speakers, the Fremen language in Dune has a very familiar pronunciation, and many words are easily understood or recognizable in origin.
I find it interesting to note the differing perspectives on the similarity between the Fremen language and Arabic. While some articles may argue that the Fremen language is VERY different from Arabic (this one in particular), it is also VERY hard to believe this for individuals with even a basic understanding of Arabic. The linguistic connections and similarities between the two languages are often quite evident.
But others, thankfully, did analyse how arabic is the foundation and more of the Fremen's language :
°Khalid Baheyeldin compiled an exhaustive list of Arabic words in Dune HERE
°Further analyses delve into the syntax, morphology, and phonology of the Fremen language like HERE
I would also like to add that this denial of Arabic roots is a deliberate choice in the movie. In the New Yorker, Manvir Singh, an assistant professor of anthropology at the University of California, criticized David J. Peterson, the creator of the Neo-Chakobsa language, for removing many words of Arabic influence from the Fremen language that were actually present in Herbert's books. Neo-Chakobsa is basicly the expanded version of the novels' Chakobsa (language of the Fremen), developed by Peterson for Dune Part I and II.
Peterson justifies this choice as a matter of the credibility of the language used in the film : "Beowulf was written about a thousand years ago and modern English speakers cannot read it. And we're talking about twenty thousand years?! Not a single shred of the language should be recognizable. Furthermore, we're talking about future Arabic, anyway, as the language is supposed to have left Earth at a time in our distant future. I honestly, truly believe not a single word of the Arabic language would have survived—especially as a result of the kind of anti-technology craze that happens at one point in time in the Dune universe," he explained on Reddit".
As a student of linguistics myself, I understand the concept of language evolution (and how Old English classes can feel like learning a completely different language). Nevertheless, I have two observations to share on this matter. First of all, the fictional language used in the movie is not far from the current standard modern Arabic, as I explained two paragraphs higher.
This is inconsistent with a 26,000-year linguistic evolution or with Peterson's assertion that "not a single shred of the language should be recognizable". Second, not incorporating modern-day resonances, as Haris A. Durrani noted in The Washington Post, "dilutes Herbert’s anti-imperialist vision". Manvir Singh also contends in The New Yorker that "the world we see in 'Dune' was never meant to be fully sealed off from the one we know". I fully agree. This appears to be a deliberate omission, again, as neo-Chakobsa neither reflects a 26,000-year linguistic evolution nor fully embraces its Arabic linguistic roots, thereby muting any cultural resemblance. Even more concerning is that this lack of effort to defamiliarize Arabic is instrumentalized, to misleadingly present the language as exotic and alien, firmly Othering it (we will delve into this further later in this essay).
🕌REFERENCES TO ISLAM🕌
Amazigh, bedouins and Touaregs (who will be evoked in the section directly below), the inspirations for the Fremen, are mostly muslim. This is why Arrakis' natives seem to believe in a lot of islamic concepts.
The veils and clothing worn by the Fremen, Lady Jessica and others, especially in Part II, look just like hijabs, niqabs and abayas, items worn by some Muslim women.
Another most prominent example in the movies is the Islamic concept of a Mahdi or religious savior, that is universally seeded by the Bene Gesserit. The Mahdi (Arabic: ٱلْمَهْدِيّ, meaning "the Guided") is a figure in Islamic eschatology (though not explicitly mentioned in the Quran or the most authoritative Hadith collections). The Mahdi is said to appear before Jesus, leading the Muslim Ummah to establish global rule based on justice and righteousness.
However, Paul's depiction as the Mahdi also evokes parallels with the Islamic prophet Muhammad. The visions Paul experiences before being recognized as the Mahdi bear resemblance to Muhammad's reception of the Quran through periodic revelations. Furthermore, Paul's subsequent public preaching echoes Muhammad's role as a religious leader. We can easily draw a parallel between Paul's ascent and the rise of Prophet Muhammad, along with the propagation of Islam in the seventh century A.D.
At the end of Part II, Paul is officialy named as the Mahdi, leading the Fremen and initiating what is termed Jihad in the novels (a term that differs from the more "generic" holy war used in the movie). In Islamic tradition, Jihad refers to a holy war sanctioned by God, seen as a duty to defend the Islamic state rather than to convert non-Muslims. Paul's prescient visions included glimpses of the jihad, which initially unsettled him. He ultimately embraces his role as the Fremen leader, emboldened by his mother, defeats House Harkonnen and the Emperor's forces with his newfound army. This victory culminates in him assuming the title of Imperator, achieved by his actions of killing Feyd-Rautha and confronting the former Emperor. We understand at the end of Dune Part II that Paul's Jihad will continue.
At the end of Part II, Paul is officialy named as the Mahdi, leading the Fremen and initiating what is termed Jihad in the novels (a term that differs from the more "generic" holy war used in the movie). In Islamic tradition, Jihad refers to a holy war sanctioned by God, seen as a duty to defend the Islamic state rather than to convert non-Muslims. Paul's prescient visions included glimpses of the jihad, which initially unsettled him. He ultimately embraces his role as the Fremen leader, emboldened by his mother, defeats House Harkonnen and the Emperor's forces with his newfound army. This victory culminates in him assuming the title of Imperator, achieved by his actions of killing Feyd-Rautha and confronting the former Emperor. We understand at the end of Dune Part II that Paul's Jihad will continue.
ⵣ NOMADIC NORTH AFRICAN / MIDDLE EASTERN TRIBES👳
Villeneuve's Fremen exhibit clear parallels with real-world desert-dwelling cultures such as the Amazigh, Tuaregs, and Bedouin (I will not use the term Berbers to refer to these ethnic groups as it is an offensive exonym steming from the pejoratively connoted word Barbarian). The harsh desert environment of Arrakis is the same as the arid landscapes inhabited by these nomadic tribes.
AMAZIGH
The endonym Amazigh (ⵉⵎⴰⵣⵉⵖⵏ, ⵎⵣⵗⵏ) refers to the different ethnic groups indeginous to North Africa that have lived there
from at least 10,000 BC. They were nomad people living in scattered communities across parts of Morocco, Algeria, Libya, and to a lesser extent Tunisia, Mauritania, northern Mali and northern Niger, and are estimated to be 36 million.
Semantically, many researchers have thought and written that Amazigh means "free, noble man", as proposed by Stéphane Gsell. The term Fremen (Free + Men), is therefore just an adaptation of the english transaltion of it.
The tattoos adorning the faces of certain female characters in the movie, - notably those of Lady Jessica -, recall the ancestral tattoos of Amazigh women.
(Amazigh woman - left / Dune - right)
Not only were the tattoos in Villeneuve's Dune inspired by Amazigh artistic expressions, but the film also drew its jewelry inspiration from the traditional adornments of these indigenous North African women. For instance, the tribal headpiece worn by Lady Jessica in the film is reflective of this influence. Such jewelry is typically passed down through generations, serving as a visual marker of Amazigh ethnic identity, with each tattoo design bearing distinct significations. This jewelry is of profound importance to Amazigh women, representing a significant aspect of who they are.
The endonym Amazigh (ⵉⵎⴰⵣⵉⵖⵏ, ⵎⵣⵗⵏ) refers to the different ethnic groups indeginous to North Africa that have lived there
from at least 10,000 BC. They were nomad people living in scattered communities across parts of Morocco, Algeria, Libya, and to a lesser extent Tunisia, Mauritania, northern Mali and northern Niger, and are estimated to be 36 million.
Semantically, many researchers have thought and written that Amazigh means "free, noble man", as proposed by Stéphane Gsell. The term Fremen (Free + Men), is therefore just an adaptation of the english transaltion of it.
The tattoos adorning the faces of certain female characters in the movie, - notably those of Lady Jessica -, recall the ancestral tattoos of Amazigh women.
(Amazigh woman - left / Dune - right)
Not only were the tattoos in Villeneuve's Dune inspired by Amazigh artistic expressions, but the film also drew its jewelry inspiration from the traditional adornments of these indigenous North African women. For instance, the tribal headpiece worn by Lady Jessica in the film is reflective of this influence. Such jewelry is typically passed down through generations, serving as a visual marker of Amazigh ethnic identity, with each tattoo design bearing distinct significations. This jewelry is of profound importance to Amazigh women, representing a significant aspect of who they are.
TUAREG
The Tuareg (ⴾⵍ ⵜⵎⴰⵣⵗⵜ), an ethnic sub-group of the Amazigh, primarily inhabit the desert regions of the Sahara in Africa, notably in Mali, Niger, Algeria, Libya, and Burkina Faso.
Living in these extreme conditions for over a thousand years, they have developed special survival strategies. They travel by camel, reminiscent of the Fremen's reliance on sandworms, and have sophisticated methods for collecting, storing, and conserving water, exemplified by the Tuareg's concept of aman iman, widely translated as "water is life" in Tamashek (the language of the Tuareg). The Fremen have developed similar strategies to preserve water, such as their use of "still-suits," which efficiently recycle body moisture into potable water. Tuareg groups are also renowned for their nomadic architecture, including tents specifically designed for desert-life, much like the Fremen's makeshift structures when they need to stay above ground.
Secondly, the Fremen and the Tuareg share similar values : a deep respect for their tribes, strong loyalty to family, and a reverence for their elders. This is why communal living holds central importance in both cultures.
Moreover, the most famous Tuareg symbol is the tagelmust, a combined turban and veil, which is also a consistent part of the Fremens' costumes (In Tuareg tradition, women typically do not wear the face veil, while men do, an aspect seemingly respected in the movie adaptation). The English term Blue People similarly originates from the indigo color of most tagelmust veils, which can sometimes stain the skin beneath, giving it a bluish hue. This association evokes a parallel with the azure blue eyes of the Fremen post-mélange ingestion, suggesting a symbolic connection between the azure blue veils of the Tuareg and, perhaps, inspiring the depiction of the Blue spice that also stains the hands of those who handle it.
(Tuareg man - left / Dune - right)
The Tuareg (ⴾⵍ ⵜⵎⴰⵣⵗⵜ), an ethnic sub-group of the Amazigh, primarily inhabit the desert regions of the Sahara in Africa, notably in Mali, Niger, Algeria, Libya, and Burkina Faso.
Living in these extreme conditions for over a thousand years, they have developed special survival strategies. They travel by camel, reminiscent of the Fremen's reliance on sandworms, and have sophisticated methods for collecting, storing, and conserving water, exemplified by the Tuareg's concept of aman iman, widely translated as "water is life" in Tamashek (the language of the Tuareg). The Fremen have developed similar strategies to preserve water, such as their use of "still-suits," which efficiently recycle body moisture into potable water. Tuareg groups are also renowned for their nomadic architecture, including tents specifically designed for desert-life, much like the Fremen's makeshift structures when they need to stay above ground.
Secondly, the Fremen and the Tuareg share similar values : a deep respect for their tribes, strong loyalty to family, and a reverence for their elders. This is why communal living holds central importance in both cultures.
Moreover, the most famous Tuareg symbol is the tagelmust, a combined turban and veil, which is also a consistent part of the Fremens' costumes (In Tuareg tradition, women typically do not wear the face veil, while men do, an aspect seemingly respected in the movie adaptation). The English term Blue People similarly originates from the indigo color of most tagelmust veils, which can sometimes stain the skin beneath, giving it a bluish hue. This association evokes a parallel with the azure blue eyes of the Fremen post-mélange ingestion, suggesting a symbolic connection between the azure blue veils of the Tuareg and, perhaps, inspiring the depiction of the Blue spice that also stains the hands of those who handle it.
(Tuareg man - left / Dune - right)
Finally, both the Fremen and the Tuaregs place great importance on autonomy and independence, with a history of resistance against external influences and attempts at domination. The Tuaregs have historically played a significant role in trans-Saharan trade and have often been involved in conflicts with colonial empires and national governments to preserve their autonomy and nomadic way of life. Similarly, the Fremen are resisting the rule of the Harkonnens and the broader imperial control.
BEDOUIN
The Bedouin, nomadic Arab tribes historically inhabiting desert regions in the Arabian Peninsula, the Levant, and Mesopotamia (Iraq), serve as a significant inspiration for the ethos and ethical conduct of the Fremen, perhaps even being the primary source.
The Bedouin upheld robust honor codes, encapsulated by the concept of Sharaf, often demonstrated through protection of the tribe. Indeed, central to their ethos are courage, hospitality, loyalty to family, and strenght.
Unlike centralized governance, Bedouin tribes were led by tribal chiefs, with the tribe's cohesion primarily driven by shared ancestry rather than hierarchical authority, as depicted in the Fremens' society.
The Bedouin's attire and traditions, including camel riding and desert camping, of course heavily influenced the clothing and lifestyle of Arrakis' native people too. Lady Jessica and the Fremen are depicted wearing clothing reminiscent of traditional Arab and Amazigh cultures, such as djellabas, long robes, and harem pants (observe the costumes worn by the extras in the Amazigh section's right photo, above).
Additionally, the Bedouin were known for their use of daggers similar to those of the Fremen, and their sword dances, which could have inspired not only the Fremen's combat style but also the "sandwalk" performed to avoid disturbing the sandworms.
A MIX ?
What we can infer from all we said in the sections above is that the movies blend elements from at least three distinct cultures, while also attempting to temper their individualities. This dual process can be seen first as a form of cultural commodification, as these cultures are curated and packaged for a primarily Western audience, making them more "marketable". Additionally, there is a form of cultural aestheticization, where Islamic culture and the nomadic tribes of the Middle East and North Africa are utilized primarily for a visual and textual appeal and "style".
Numerous problematic elements emerge: the stereotyped oriental appearance of the characters, the desert setting, decontextualized Arabic words, and even as far as the oriental feel of the music. Villeneuve's film entirely omits meaningful themes related to Arab or Muslim culture, as explicitly explored in Herbert's novel, making the Fremen bland caricatures. Indeed, Villeneuve seems to show little interest in exploring such cultural depth, instead presenting the characters, setting, and themes in a way that lacks cultural specificity, resulting in ambiguity.
This is precisely what the concept of Orientalism is : Eastern cultures simplified, amalgamated, exoticized, and misrepresented, to conform to Western expectations.
ORIENTALISM
The Bedouin's attire and traditions, including camel riding and desert camping, of course heavily influenced the clothing and lifestyle of Arrakis' native people too. Lady Jessica and the Fremen are depicted wearing clothing reminiscent of traditional Arab and Amazigh cultures, such as djellabas, long robes, and harem pants (observe the costumes worn by the extras in the Amazigh section's right photo, above).
Additionally, the Bedouin were known for their use of daggers similar to those of the Fremen, and their sword dances, which could have inspired not only the Fremen's combat style but also the "sandwalk" performed to avoid disturbing the sandworms.
A MIX ?
What we can infer from all we said in the sections above is that the movies blend elements from at least three distinct cultures, while also attempting to temper their individualities. This dual process can be seen first as a form of cultural commodification, as these cultures are curated and packaged for a primarily Western audience, making them more "marketable". Additionally, there is a form of cultural aestheticization, where Islamic culture and the nomadic tribes of the Middle East and North Africa are utilized primarily for a visual and textual appeal and "style".
Numerous problematic elements emerge: the stereotyped oriental appearance of the characters, the desert setting, decontextualized Arabic words, and even as far as the oriental feel of the music. Villeneuve's film entirely omits meaningful themes related to Arab or Muslim culture, as explicitly explored in Herbert's novel, making the Fremen bland caricatures. Indeed, Villeneuve seems to show little interest in exploring such cultural depth, instead presenting the characters, setting, and themes in a way that lacks cultural specificity, resulting in ambiguity.
This is precisely what the concept of Orientalism is : Eastern cultures simplified, amalgamated, exoticized, and misrepresented, to conform to Western expectations.
What we can infer from all we said in the sections above is that the movies blend elements from at least three distinct cultures, while also attempting to temper their individualities. This dual process can be seen first as a form of cultural commodification, as these cultures are curated and packaged for a primarily Western audience, making them more "marketable". Additionally, there is a form of cultural aestheticization, where Islamic culture and the nomadic tribes of the Middle East and North Africa are utilized primarily for a visual and textual appeal and "style".
Numerous problematic elements emerge: the stereotyped oriental appearance of the characters, the desert setting, decontextualized Arabic words, and even as far as the oriental feel of the music. Villeneuve's film entirely omits meaningful themes related to Arab or Muslim culture, as explicitly explored in Herbert's novel, making the Fremen bland caricatures. Indeed, Villeneuve seems to show little interest in exploring such cultural depth, instead presenting the characters, setting, and themes in a way that lacks cultural specificity, resulting in ambiguity.
This is precisely what the concept of Orientalism is : Eastern cultures simplified, amalgamated, exoticized, and misrepresented, to conform to Western expectations.
ORIENTALISM
MISREPRESENTATION
DEFINITION
Edward Said, in his famous work Orientalism, argued that "The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences".
The term Orientalism therefore describes the exaggeration of cultural differences, the assumption of Western superiority (represented by the Atreides, Harkonnen, and the imperial family), and the application of stereotypes to perceive the Oriental world, (the Fremen are depicted as following a fanatical zeal to create an earthly paradise out of a desert planet, living underground, and portrayed as less developed and more savage). Such representations reduce the complex realities of the Orient to fictional essences embodied by the Oriental peoples (Fremen) and places (Arrakis).
Signs that Western societies associate with the Orientalist Other have been embedded in images and narratives for decades. These stereotypes persist in the 21st century, even though we can now more easily identify and criticize them. The main problem is that Villeneuve, while employing these orientalist codes and signs, fails to acknowledge their use. For instance, he stated on Radio-Canada: "[Mon] film marche tout seul maintenant. Je n’ai plus de contrôle sur la manière dont les gens vont le recevoir ([My] film works on its own now. I no longer have any control over how people receive it)". This suggests that he is aware of the Orientalism he perpetuates but chooses not to take responsibility for it.
Dune's screenwriter, Jon Spaihts, posted on Reddit: "The Arab world was much more exotic in the 1960s than it is today. Today the Arab world is with us, they’re our fellow Americans, they’re everywhere… What you can really see is that to Frank Herbert’s worldview, just dipping into Islam and dipping into the Arab world was sufficiently exotic to be science fiction. And now… you’d have to go farther afield to make science fiction." This statement raises questions about how going "farther afield" was achieved. Well, the answer is pretty clear: the MENA representation in Dune relied heavily on orientalist stereotypes and cultural erasure, effectively Othering the Orient.
Edward Said, in his famous work Orientalism, argued that "The Orient was almost a European invention, and had been since antiquity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences".
The term Orientalism therefore describes the exaggeration of cultural differences, the assumption of Western superiority (represented by the Atreides, Harkonnen, and the imperial family), and the application of stereotypes to perceive the Oriental world, (the Fremen are depicted as following a fanatical zeal to create an earthly paradise out of a desert planet, living underground, and portrayed as less developed and more savage). Such representations reduce the complex realities of the Orient to fictional essences embodied by the Oriental peoples (Fremen) and places (Arrakis).
Signs that Western societies associate with the Orientalist Other have been embedded in images and narratives for decades. These stereotypes persist in the 21st century, even though we can now more easily identify and criticize them. The main problem is that Villeneuve, while employing these orientalist codes and signs, fails to acknowledge their use. For instance, he stated on Radio-Canada: "[Mon] film marche tout seul maintenant. Je n’ai plus de contrôle sur la manière dont les gens vont le recevoir ([My] film works on its own now. I no longer have any control over how people receive it)". This suggests that he is aware of the Orientalism he perpetuates but chooses not to take responsibility for it.
Dune's screenwriter, Jon Spaihts, posted on Reddit: "The Arab world was much more exotic in the 1960s than it is today. Today the Arab world is with us, they’re our fellow Americans, they’re everywhere… What you can really see is that to Frank Herbert’s worldview, just dipping into Islam and dipping into the Arab world was sufficiently exotic to be science fiction. And now… you’d have to go farther afield to make science fiction." This statement raises questions about how going "farther afield" was achieved. Well, the answer is pretty clear: the MENA representation in Dune relied heavily on orientalist stereotypes and cultural erasure, effectively Othering the Orient.
EXAMPLES OF ORIENTALISM IN THE MOVIE
(1) The Fremen resemble a cliché representation of Arabs and Muslims, in Orientalist paintings of the 18th and 19th centuries.
(2) Arrakis is depicted as a romanticized vision of the East, a creation of Western imagination, an Orientalist topography. David Cole, the film's colorist, explained in an interview with Filmmakers Academy that they aimed for low light levels in the interiors to make the audience feel the harshness and intensity of Arrakis when characters venture outside. Everything was designed to re-emphasize the desertness of the deserts.
(3) The blending of cultures, the selective appropriation and exoticization of certain aspects of MENA peoples' way of life, as discussed earlier, epitomizes this phenomenon.
👉One could say that Villeneuve's Arrakis is, more than anything, a western Orient. By presenting Arabs, Arabic, and Islam respectively as SF fictional aliens, language, and religion, the movies other an entire culture.
(1) The Fremen resemble a cliché representation of Arabs and Muslims, in Orientalist paintings of the 18th and 19th centuries.
(2) Arrakis is depicted as a romanticized vision of the East, a creation of Western imagination, an Orientalist topography. David Cole, the film's colorist, explained in an interview with Filmmakers Academy that they aimed for low light levels in the interiors to make the audience feel the harshness and intensity of Arrakis when characters venture outside. Everything was designed to re-emphasize the desertness of the deserts.
(3) The blending of cultures, the selective appropriation and exoticization of certain aspects of MENA peoples' way of life, as discussed earlier, epitomizes this phenomenon.
👉One could say that Villeneuve's Arrakis is, more than anything, a western Orient. By presenting Arabs, Arabic, and Islam respectively as SF fictional aliens, language, and religion, the movies other an entire culture.
WHITE-SAVIORISM
MOVIE TROPE
In film, the white savior is a cinematic trope in which a white character rescues people of color from their plight. The white savior is portrayed as messianic and often learns something about themselves in the process of rescuing. White saviors are often male and are sometimes out of place in their own society until they lead minorities or foreigners (=an almost exact psychological portrait of the movies' Paul).
Types of stories of this trope include white travels to exotic locations (Arrakis), white defense against racism in the American South, or white protagonists having racially diverse helpers (like the Fremen, which is especially accentuated in the movie with its ethnically diverse cast).
In film, the white savior is a cinematic trope in which a white character rescues people of color from their plight. The white savior is portrayed as messianic and often learns something about themselves in the process of rescuing. White saviors are often male and are sometimes out of place in their own society until they lead minorities or foreigners (=an almost exact psychological portrait of the movies' Paul).
Types of stories of this trope include white travels to exotic locations (Arrakis), white defense against racism in the American South, or white protagonists having racially diverse helpers (like the Fremen, which is especially accentuated in the movie with its ethnically diverse cast).
THEORY
Saidian Orientalism posits that part of its definition is the depiction of the Orient as primitive and essentially inferior to the westerner or native informant, and hence, enlightenment can only occur when their traditional and reactionary values are replaced by contemporary and progressive western or western-influenced ideas.
Saidian Orientalism posits that part of its definition is the depiction of the Orient as primitive and essentially inferior to the westerner or native informant, and hence, enlightenment can only occur when their traditional and reactionary values are replaced by contemporary and progressive western or western-influenced ideas.
ENLIGHTENING THE SAVAGE
Paul Atreides is portrayed as an outsider who becomes the savior of the Fremen people by exploiting their prophecies and beliefs. Coming from a planet reminiscent of Britain, known for its reliance on air and sea power, Paul is sent to a colonial sphere where he manipulates the local population. The depiction of the Fremen as naive, completely controlled by the Bene Gesserit, and in need of a white man to unite them aligns with Saidian Orientalism. It suggests that the Fremen, representing an Oriental culture, are incapable of achieving enlightenment or progress without the intervention of a Western figure.
Paul is given, after all, the surname of Muad’Dib, the Arabic term for "private tutor," explicitly positioning him as a figure of Western enlightenment over the Orient's perceived obscurantism.
This is quite the example of White-saviorism: a white person is portrayed as saving non-white people who are depicted as economically underdeveloped and lacking agency, merely recipients of white benevolence. The role is considered a modern-day version of what is expressed in the infamous poem The White Man's Burden (1899) by Rudyard Kipling.
This is where I should like to shed light on how problematic it is that Paul, a white male protagonist who ultimately becomes a savior, is chosen to act as the focal point: The Orient is viewed through the lens of the West, through the eyes of the white hero.
Paul Atreides is portrayed as an outsider who becomes the savior of the Fremen people by exploiting their prophecies and beliefs. Coming from a planet reminiscent of Britain, known for its reliance on air and sea power, Paul is sent to a colonial sphere where he manipulates the local population. The depiction of the Fremen as naive, completely controlled by the Bene Gesserit, and in need of a white man to unite them aligns with Saidian Orientalism. It suggests that the Fremen, representing an Oriental culture, are incapable of achieving enlightenment or progress without the intervention of a Western figure.
Paul is given, after all, the surname of Muad’Dib, the Arabic term for "private tutor," explicitly positioning him as a figure of Western enlightenment over the Orient's perceived obscurantism.
This is quite the example of White-saviorism: a white person is portrayed as saving non-white people who are depicted as economically underdeveloped and lacking agency, merely recipients of white benevolence. The role is considered a modern-day version of what is expressed in the infamous poem The White Man's Burden (1899) by Rudyard Kipling.
This is where I should like to shed light on how problematic it is that Paul, a white male protagonist who ultimately becomes a savior, is chosen to act as the focal point: The Orient is viewed through the lens of the West, through the eyes of the white hero.
COLONIALISM
COLONIALISM
SPICE IS THE NEW OIL IN IRAQ(QIS)
"Over 40 years ago, Frank Herbert crafted a remarkable depiction of our time, so, read, or reread, Dune - and read it hard" (2) and whether we agree or not with this, Spice serves as a thinly veiled substitute for oil. The occupation of Iraq for oil reflects the occupation of Arrakis to control Spice, and vice versa. The similarity even extends to their names, as Arrakis and Iraq are paronyms.
Arrakis is presented not just as a completely fictional setting, but as a reconstruction of a political site, a bioregion (a) resembling a typical desertified petrostate (b) in the Middle East, leading the Fremen to suffer from a Petro-agression (c), or what we can call here a Spice-agression / Spice Wars.
So when the Atreides and the Harkonnen try to exploit the Spice on Arrakis for the Empire at the start of Part I, it serves as a representation of white colonialism in Africa, Asia, and Latin America. The Fremen are analogous to indigenous populations resisting colonial exploitation. And in Part II, when Paul allies with the Fremen to fight against the Harkonnen, the people of Arrakis accept to fight alongside him. This mirrors how native populations sometimes formed alliances with other colonizers to defend their lands, much like some Native American tribes allied with the French against the British during the French and Indian War, siding with the power they perceived as more favorable or less threatening at the time.
This is why, ultimatly, Paul does not free the Fremen but rather directs their
military potential against his own enemies and eventually causes a
universal Jihad in his and his father’s name (3).
COLONIZING ARRAKIS
TWO BLOCS
Baron Harkonnen's famous viral sentence from the movie, "Arrakis Is Arrakis, And The Desert Takes The Weak. My Desert. My Arrakis. My Dune", clearly portrays him as a colonizer figure and a villain in the movie. On the other hand, the Atreides are not depicted in the same light. Even if they have similar imperialistic ideas, they are more strategic and cunning. These two contrasting colonial attitudes become clearer when considering how many critics and studies liken the imperial powers in Dune to those of World War I: the Harkonnens representing the Soviet bloc and the Atreides representing the American/Western powers. Indeed, "The struggle for spice is consequently a struggle for influence on a colonial planet that offers a steady and almost incredible amount of income" (2).
Returning to the Atreides, it is clear that they are colonizers at heart. The only meaningful difference between Harkonnen and Atreides is that the latter also wants to control how they are perceived. They wish to loot, control, but they also wish to be loved, even adored. This pattern has been observed throughout history, where occupying powers often expect gratitude from the occupied, claiming to be benefactors, to bring education or human rights to underdeveloped lands when their true agenda is to exert control and expand their influence.
COLONIZING THOUGHTS AND BELIEFS
The Bene Gesserit's influence on the Fremen's religious beliefs is a form of colonial oppression. By presenting Paul as the expected messiah, the Bene Gesserit shape the Fremen's religion the way they see fit, undermining their autonomy and portraying them as easily manipulated and intellectually inferior.
Frantz Fanon's argument in The Wretched of the Earth applies here, suggesting that the Fremen cannot free themselves from colonial influence, as Paul's role as a messiah and the Bene Gesserit's religious monopolization prevents indigenous self-determination (4).
This results in Arrakis being not decolonized but rather re-colonized from within by a white savior who assimilates into the culture, gains knowledge, and asserts control over its people and resources. Ultimately, the liberation of Arrakis becomes a step towards the establishment of the Atreides Imperium, rather than the dismantling of the imperial system: "Paul’s goal is to correct the errors and excesses of Empire rather than to dismantle the imperial system" (5).
The Bene Gesserit's influence on the Fremen's religious beliefs is a form of colonial oppression. By presenting Paul as the expected messiah, the Bene Gesserit shape the Fremen's religion the way they see fit, undermining their autonomy and portraying them as easily manipulated and intellectually inferior.
Frantz Fanon's argument in The Wretched of the Earth applies here, suggesting that the Fremen cannot free themselves from colonial influence, as Paul's role as a messiah and the Bene Gesserit's religious monopolization prevents indigenous self-determination (4).
This results in Arrakis being not decolonized but rather re-colonized from within by a white savior who assimilates into the culture, gains knowledge, and asserts control over its people and resources. Ultimately, the liberation of Arrakis becomes a step towards the establishment of the Atreides Imperium, rather than the dismantling of the imperial system: "Paul’s goal is to correct the errors and excesses of Empire rather than to dismantle the imperial system" (5).
COLONIAL CINEMA
In colonial cinema, particurarly the French colonial cinema, there is often the image of the legionnaire, the intellectual, or the scientist who arrives in a colonized country, encounters the local culture, allows himself to be somewhat transformed by it, and adapts his language to integrate into this society : this is designanted, in Postcolonial Terms, as Going Native.
"The phenomenon of going native is one of the less commonly known outgrowths of European colonialism. It emerged as a result of the meeting of European and indigenous cultures and drew its strength from the perceived differences between those cultures. The term refers to the desire of non-aboriginals to identify with and immerse themselves in native culture [...] During the sixteenth and seventeenth centuries, Europeans intent on survival in an unfamiliar terrain were wise to adopt aspects of aboriginal lifestyles in matters ranging from food and clothing to language and transportation [...] Members of dominant and usually colonizing cultures frequently became enamored with indigenous “others” and desirous of immersing themselves in their indigenous cultures. Ultimately, these colonial intruders moved from the belief that originally justified colonization—namely, that indigenous cultures were inferior—to one that romanticized those same cultures as providing the exotic and intense experience their own societies discouraged" (6).
Paul Atreides becomes the leader among the Fremen and adopts their cause for independence. After being trained by the Fremen and adopting their culture, Paul utilizes his skills and powers to unite the Fremen tribes and lead a rebellion against the empire and House Harkonnen. His quest to liberate Arrakis from imperial occupation and to fulfill his own destiny as the messiah of the Fremen is a central element of the story. Crucially, by the film's end, it becomes evident that Paul reverts to his "Westernness" or will likely do so, ultimately exploiting the Fremen for his own ends.
COLONIAL CINEMA
In colonial cinema, particurarly the French colonial cinema, there is often the image of the legionnaire, the intellectual, or the scientist who arrives in a colonized country, encounters the local culture, allows himself to be somewhat transformed by it, and adapts his language to integrate into this society : this is designanted, in Postcolonial Terms, as Going Native.
"The phenomenon of going native is one of the less commonly known outgrowths of European colonialism. It emerged as a result of the meeting of European and indigenous cultures and drew its strength from the perceived differences between those cultures. The term refers to the desire of non-aboriginals to identify with and immerse themselves in native culture [...] During the sixteenth and seventeenth centuries, Europeans intent on survival in an unfamiliar terrain were wise to adopt aspects of aboriginal lifestyles in matters ranging from food and clothing to language and transportation [...] Members of dominant and usually colonizing cultures frequently became enamored with indigenous “others” and desirous of immersing themselves in their indigenous cultures. Ultimately, these colonial intruders moved from the belief that originally justified colonization—namely, that indigenous cultures were inferior—to one that romanticized those same cultures as providing the exotic and intense experience their own societies discouraged" (6).
Paul Atreides becomes the leader among the Fremen and adopts their cause for independence. After being trained by the Fremen and adopting their culture, Paul utilizes his skills and powers to unite the Fremen tribes and lead a rebellion against the empire and House Harkonnen. His quest to liberate Arrakis from imperial occupation and to fulfill his own destiny as the messiah of the Fremen is a central element of the story. Crucially, by the film's end, it becomes evident that Paul reverts to his "Westernness" or will likely do so, ultimately exploiting the Fremen for his own ends.
CONCLUSION
The portrayal of MENA culture and history in the Dune movies chooses to be constructed within a zone of cultural unfocussness, representing a state of visible erasure, a zone of mirages one might say, an optical illusion undoubtedly observable in Arrakis. Indeed, mirages could symbolize the constructed, imagined Orient from a subjective Western gaze.
In addition, the absence of authentic Arab representation in the film results in the theft of Arab identity, which becomes another resource exploited to portray the European-coded noble houses' characters, Paul Atreides and his mother, as saviors and intellectuals, positioning them as inherently better and more intelligent than the Fremen (a people in need of guidance, in need to be lead, by a white savior, a people easily manipulated, tribal and fanatic, with their entire religion reduced to a Western construction). Instead of serving as a critique of colonialism and its destructive impact on humanity and the environment, the narrative can be easily interpreted as an acceptance or normalization of the very forces it originally sought to condemn and a strong Othering of the Oriental subject.
While this does not diminish the significance of Frank Herbert's creation of Dune as an important work of science fiction, or Denis Villeneuve's achievement in filmmaking, it underscores the importance of recognizing the subconscious influence of orientalist semiotics and stereotypes in popular media, even in contemporary times. Villeneuve's adaptation unfortunately perpetuates the historical trend of orientalization, contributing to the misrepresentation and marginalization of the Orient.
🔎BIBLIOGRAPHY
(1) Suvin, Darko. Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre, Yale University Press (1979).
(2) Senior, William A. "Frank Herbert’s Prescience: ‘Dune’ and the Modern World." Journal of the Fantastic in the Arts 17, no. 4 (68) (2007): 317–20. http://www.jstor.org/stable/44809216.
(3) Jacob, Frank. (2022). The Orientalist Semiotics of Dune: Religious and Historical References within Frank Herbert’s Universe.
(4) Zaki, Hoda M. “Orientalism in Science Fiction.” Food for Our Grandmothers: Writings by Arab-American and Arab-Canadian Feminists, edited by Joanna Kadi, South End Press, Cambridge, Massachusetts, 1994, pp. 181–187.
(5) Dridi, Y. (2022). "De-orientalizing Dune: Storyworld-Building between Frank Herbert’s novel and Denis Villeneuve’s film". Ekphrasis, 28(2), 49–67. https://doi.org/10.24193/ekphrasis.28.2
(6) "Going Native". International Encyclopedia of the Social Sciences. https://www.encyclopedia.com/social-sciences/applied-and-social-sciences-magazines/going-native.
DEFINITIONS
(a) "A bioregion is a geographical area with coherent and interconnected plant and animal communities, and other natural characteristics (often defined by a watershed) plus the cultural values that humans have developed for living in harmony with these natural systems. Because it is a cultural idea, the description of a specific bioregion uses information from both the natural sciences and other sources. Each bioregion is a whole 'life-place' with unique requirements for human inhabitation so that it will not be disrupted and injured. People are counted as an integral aspect of a place’s life", Planet Drum Foundation Website.
(b) A petrostate or oil state is a country whose economy is heavily dependent on the extraction and export of oil or natural gas. Petrostates also have highly concentrated political and economic power, resting in the hands of an elite, as well as unaccountable political institutions which are susceptible to corruption.
(c) Petro-aggression is the tendency for a petrostate to be involved in international conflicts, or to be the target of them. The term was popularized by a 2013 book by Jeff Colgan that found that petrostates are 250% more likely to instigate international conflicts than a typical country (Wikipedia).
(a) "A bioregion is a geographical area with coherent and interconnected plant and animal communities, and other natural characteristics (often defined by a watershed) plus the cultural values that humans have developed for living in harmony with these natural systems. Because it is a cultural idea, the description of a specific bioregion uses information from both the natural sciences and other sources. Each bioregion is a whole 'life-place' with unique requirements for human inhabitation so that it will not be disrupted and injured. People are counted as an integral aspect of a place’s life", Planet Drum Foundation Website.
(b) A petrostate or oil state is a country whose economy is heavily dependent on the extraction and export of oil or natural gas. Petrostates also have highly concentrated political and economic power, resting in the hands of an elite, as well as unaccountable political institutions which are susceptible to corruption.
(c) Petro-aggression is the tendency for a petrostate to be involved in international conflicts, or to be the target of them. The term was popularized by a 2013 book by Jeff Colgan that found that petrostates are 250% more likely to instigate international conflicts than a typical country (Wikipedia).
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