Civilized colonialism in the movie pocahontas (1995) from cda perspective = nghiên cứu về chủ nghĩa thực dân khai hóa văn minh trong bộ phim pocahontas (1995) theo góc Độ phân tích diễn ngôn phê phán

Civilized colonialism in the movie Pocahontas (1995) from CDA perspective = Nghiên cứu về chủ nghĩa thực dân khai hóa văn minh trong bộ phim Pocahontas (1995) theo góc độ phân tích diễn ngôn phê phán

INTRODUCTION

Rationale

It is possible that many people have heard about “civilized colonialism” yet know little about it Most of the knowledge about this term is from the events and definitions written in history books Throughout world’s history, a few societies have suffered from colonization when the colonizers imposed their religion, language, economics, and other cultural practices on the colonized region's people and resources The political justification for military intervention and colonization was known as the

“civilizing mission” The Western European colonial powers asserted that it was their duty to spread Western civilization to the cultures of the Eastern world, which they viewed as heathen and primitive (Rist, 1996) The “civilizing ” term was the cultural justification for the colonial exploitation in many colonies, then “civilized colonialism” was used to legitimize the colonizers rule over the colonized

Although colonization was ended in theory by national liberation movements in many areas of the world after World War II, colonialism still occurs in today’s society Besides colonialism’s long-term effects on political, social, and economic development throughout history, the dominance of the economy, politic and military from the powerful countries can remain without permanent presence in the others

Go (2023) argues that “past colonialism impacts the present, using a variety of terms She identifies and discusses four such processes and mechanisms: continued colonialism through simple reproduction, the persistence of power through formal and informal institutionalization, path dependent “colonial institutionalism” and colonialism’s archive of meaning.” Therefore, colonialism is still a phrase that is helpful in understanding the upholding of racial hierarchies, masculinist and patriarchal relationships, geographic divisions, and economic disparities since it is a force that persists in the modern world rather than a historical artifact, according to Murrey (2020)

It cannot be denied that language plays an essential part in colonialism Language reflects a group’s culture and core values; therefore, culture and language have a close relationship in every part of the world Taylor (2007) stated, it is the reason why all colonizers tended to impose their languages on indigenous people, considering language as a tool in colonization The loss of African and American indigenous languages illustrates this phenomenon Fanon (1959) claimed that a person's basic ontology is structured by language, and speaking a language is equivalent to engaging in a world and embracing a civilization Through languages, the colonizers oriented indigenous people to take over their own thoughts, beliefs, and values, even considered the colonizers’ values superior to their own This process took place invisibly but effectively, since it enabled the colonizers to introduce their ideas and morals through their languages, then gradually change the mind of indigenous people in every aspect of life It might result in wide acceptance and adoptability of the colonizers’ sovereignty, as well as the weaken identities of the colonized As long as language serves as a source of power, colonialism will exist

The 1995 American animated picture “Pocahontas” narrates the tale of Pocahontas's life and the coming of English colonial immigrants from the Virginia Company It was praised for the animation, and music, but criticized for its plot which is inaccurate to the history According to Karmakar & Bhadra (2023), Pocahontas as an empowered heroine has had a big influence on subsequent Disney films Basically, the main characters in the film are divided into two groups: the colonized and the colonizers Pocahontas, the daughter of the tribe’s head, represents the colonized in Jamestown, Virginia while Captain John Smith represents the colonizers who came to this land The two have contrasting ideologies and affiliate with groups that are perceived as opposing each other Besides Pocahontas, the other native people in Jamestown, such as her father Chief Powhatan and the warrior Kocoum, are also the colonized They had lived for generations in Jamestown before John Smith and his fellows set their foot on the land The colonized and the colonizers diminish each other to dangerous, heartless animals who cannot be trusted In addition, both groups soon realize their own desires and benefits force them to fight The colonizers want to own the land that the colonized want to protect, and then they collide

As a language learner and researcher, I believe that I do not only learn the way to use a language with different skills but also learn to understand it Thus, I am interested in looking into how a language could change and be changed in a complicated context In this case, it is the “civilized colonialism” era I figured out it is reflected in the movie Pocahontas (1995) which is known and loved by a lot of people all around the world As far as I am concerned, “civilized colonialism” in this classical animated movie is expressed delicately through language, the perspective not so many viewers and learners pay attention to From the story in the 17th century reflected in the film, I can take a deeper look from a new perspective into the topic

“civilized colonialism” which made up an important part of history and even the present of human beings This is why I chose CDA as an approach to researching this problem.

Aim and objectives of the study

This study is aimed at finding out how the civilized colonialism is negotiated linguistically in the movie

The objectives of the study are: a) Analyze how language constructs and reinforces the narrative of civilized colonialism in the film; b) Explore the power relationships manifested through language between colonizers and colonized characters in the film, focusing on how linguistic choices reflect and perpetuate these dynamics.

Research questions

The study is supposed to answer the following research questions:

1 How are the colonized and the colonizers represented linguistically in the movie Pocahontas (1995)?

2 To what extent do the linguistic representations of the colonized and the colonizers in Pocahontas (1995) rely on binary oppositions?

Scope

The scope of this analysis of Pocahontas is confined to verbal aspects that reflect the civilized colonialism in the movie Although the movie is based on some real historic events and characters, in this paper, I study only the movie produced by Disney which can be told in a different and more humanistic way than what was written in history books This study works on the cinematographic reality, not historical reality.

Significance

This study aimed to answer the questions of how civilized colonialism is expressed/reflected through the movie Pocahontas (1995) through linguistic elements After the research, the writer hopes to give a deeper look and better understanding of civilized colonialism for the viewers and language learners I learn how language is used to build up a conception, an attitude, and a period in the history of human beings

From that point, further research on civilized colonialism or the message the movie gives can be conducted to give a way of critical thinking.

Structure of the thesis

In this thesis, the structure is organized as follows:

- Introduction: This chapter shows an overview of the research topic and research questions It also offers a succinct synopsis of the thesis framework

- Literature Review: This section examines existing research related to the topic, highlights gaps in current knowledge, and establishes the theoretical framework for the study

- Methodology: This chapter outlines the research design, methods for data collection, and procedures for data analysis

- Findings and Discussion: This part presents and interprets the research findings in relation to the research question, and discusses the study's limitations

- Conclusion: This part summarizes the main findings, suggests for future research, and offers final reflections on the study

- References: This section lists all the sources cited throughout the thesis

- Appendices: Additional material supporting the research: The script of the movie Pocahontas (1995)

LITERATURE REVIEW

Civilized colonialism

2.1.1 Definition of colonialism and its impact on colonized peoples

According to Collins Dictionary (2011), colonialism is “a practice or policy of control by one people or power over other people or areas” This action is often done by “establishing colonies and generally with the aim of economic dominance” (Rodney, 1972) In history, powerful countries in Europe wanted to expand their empire and gain more power and wealth To reach this aim, they conquered and colonized other lands and peoples around the world, established control over these territories, and extracted resources to benefit themselves The powerful countries, among which English was the most well-known, were able to exert their control over these regions through a variety of means, including military force, economic exploitation, and cultural dominance (Griffin & Gurley, 1985) That process is called colonialism Colonization experienced a dramatic change in the 16th century when

European powers developed the means to move large numbers of people across the ocean and retain political control despite their distant locations Due to inequitable development, some parts of the world gained the desire to rule the weaker, which might benefit the “mother land” and consolidate their power with cheap labor and natural resources The process of European military expulsion, economic reorganization, and political dominance extended across the globe, affecting regions such as the Americas, Africa, and Asia

Through the system of colonialism, the British controlled the politics and the economy in different parts of the world, including Africa, India, and parts of North America They established colonies and enforced their laws and customs on the native peoples, often with devastating consequences Crichlow (2002) claims that as a result of colonialism, many countries around the world were stripped of their resources and forced to adopt Western systems and ways of life, often at the expense of their own traditions and cultures Although colonialism officially ended in the mid-20th century, it has left deep divisions and inequalities that have yet to be fully addressed

Colonialism had a profound and devastating impact on indigenous peoples across the world (Fanon, 1967) One of the most immediate effects was the loss of land and resources Indigenous people had long-established relationships with their land, which were crucial for their survival, identity, and culture However, colonial powers sought to exploit these lands for their own economic gain, resulting in land confiscation, forced displacement, and dispossession Under colonial rule, indigenous peoples were often forced off their ancestral lands to make way for European settlers and their commercial enterprises The loss of land had grave consequences for indigenous peoples who relied on it for their livelihoods, culture, and spiritual practices The destruction of their natural resources also meant a loss of self- sufficiency and increased reliance on European markets for basic needs Furthermore, colonialism eroded indigenous cultures and languages (Wang & Bai, 2024) European colonizers imposed their cultural values, norms, and institutions, suppressing and denigrating Indigenous practices This cultural assimilation not only resulted in the loss of unique identities and traditions but also contributed to the intergenerational trauma experienced by Indigenous peoples

Price (2017) claimed that physical and psychological violence accompanied colonial expansion Indigenous peoples often faced direct violence, such as massacres, enslavement, forced labor, and sexual violence These acts of violence aimed to subjugate and control Indigenous populations, assert European dominance and exploit Indigenous labor and resources The psychological violence was equally devastating Indigenous peoples were subjected to racist ideologies that depicted them as inferior and in need of civilization This issue was also discussed by Połońska-Kimunguyi

(2022) The dehumanization led to the erasure of Indigenous knowledge, customs, and ways of life The imposition of European values and education systems sought to assimilate Indigenous peoples, stripping them of their cultural identity and self-esteem

2.1.2 History of colonialism in the 17th century as the context of the film Pocahontas

Colonialism has been present since ancient times, but it is most closely associated with the European colonial era, especially British colonization expansion in the 17th century The desire to build British imperialism overseas started in the late 16th century, when the British colonizers claimed possession of the whole of North America between the French Acadia on the North and the Spanish Florida on the South However, they failed in the “New World” which was mistaken to be a part of the Indies, until a British commercial company established in Jamestown in 1606 paved the way for the colonization of Virginia At that time, there was no native empire in this territory, except for the native tribes, and no political organization was higher than that of the tribe In 1620, a group of nonconformists sailed from Plymouth in the Mayflower and established the first of the New England Colonies It turned a page in history when the colonizers were granted a constitution, which vested the government in the hands of a Governor and a Council in 1623 Caenegem (1995) argues that one of the main motives for this movement was an “escape rather than a natural expansion” It was when English people managed to set up a new home in a new land to acquire competence or wealth, carrying their traditional ideas and methods in the old land

The story in the movie Pocahontas is set in the early 17th century when European powers started establishing colonies in North America The arrival of European settlers in North America marked the beginning of a complex and often violent history of colonialism The British were among the most well-known colonizers in North America The British colonies were primarily located along the eastern coast, including New England, the mid-Atlantic, and the southern colonies The settlers came seeking religious freedom, economic opportunities, and political autonomy However, their arrival led to conflicts with Native American tribes, as more land was claimed, and resources were exploited These conflicts often resulted in the violence and displacement of Indigenous peoples The British colonies developed self- governing systems that eventually led to the formation of the thirteen colonies Each of these colonies had its own governing structure, often with an appointed royal governor and an elected assembly This system allowed for growing autonomy and self- determination among the settlers

Although colonization was ended in theory by national liberation movements in many areas of the world after World War II, colonialism in fact still occurs in today’s society The political and intellectual struggles of civilizations that transitioned from political dependence to sovereignty are known as "post-colonialism." For instance, some have claimed that British colonial rule introduced parliamentary systems that aided former British colonies in establishing democratic regimes, although indirect British rule could also be linked to despotism Steinman (2012) contends that colonies with little or no centralized government before colonization were more susceptible to European institutional influences and experienced the most significant long-term impacts It can now be seen in the case of the Commonwealth realms, which include the former British colonies and still recognize the United Kingdom's ruler (in the Royal Family) as their Head of state in the constitution, despite their independence and self-governing status It shows that the representation of people from formerly colonized nations remains powerful and influential in the global political sphere

To reach their aim of holding dominance, the powerful can leave a big impact with “soft power” in the rapidly developing world, by creating new ways to emphasize their ideas, messages, and policies to make it the only “truth” (Solomon, 2014) This can be seen in the way the colonizers in the past tried to deny, block, or limit access to education for the colonized people On the other hand, they force those people to adopt the language and culture of the “mother land” in their education systems (Lange, Mahoney, & Hau, 2006) Nowadays, some governments still use this to prevent some groups of people from getting to know properly about certain sensitive topics, as well as lead their thoughts in the way they guide

The representation of colonialism in media, including film, television, and literature, has a complex history that has evolved over time A study by Leavitt et al

(2015) states that certain social groups such as Native Americans are seldom ever shown in the media, and when they are, it is usually in an archaic and historical way One of the most common stereotypes perpetuated in media representations of Indigenous peoples is the “noble savage” trope (Demissie, 2004) In the early days of media, indigenous peoples were often portrayed in stereotypical and dehumanizing ways, as savages, primitives, or exotic “others” to be conquered by colonial powers They were often depicted as obstacles to progress, hindrances to colonization, or exotic attractions for European explorers These representations contributed to the dehumanization and marginalization of indigenous peoples, perpetuating harmful stereotypes and prejudices Another harmful stereotype perpetuated in media representations is that of the “violent savage.” Brett & Guyver (2021) argue that indigenous peoples are often depicted as aggressive, savage, or prone to violence, which reinforces negative biases and contributes to the marginalization of these communities

Films such as “Smoke Signals” (1998) directed by Chris Eyre, and “Rhymes for Young Ghouls” (2013) directed by Jeff Barnaby, have brought Indigenous stories to mainstream audiences, providing nuanced and authentic portrayals of Indigenous experiences These films explore the impacts of colonialism on Indigenous communities, including issues like cultural assimilation, forced removal from their ancestral lands, and the intergenerational trauma that has resulted Television shows like “Longmire” (2012-2017), “Blackstone” (2009-2015), and “Mohawk Girls” (2010-

2017) have also centered on indigenous perspectives and addressed the various challenges faced by Indigenous characters in contemporary society These shows tackle issues such as systemic racism, cultural preservation, the impact of resource extraction on Indigenous lands, and the struggles of indigenous youth caught between tradition and modernity

Furthermore, Arya (2021) claims that media representations often engage in cultural appropriation by simplifying and commodifying indigenous cultures for entertainment purposes Indigenous symbols, rituals, and clothing are frequently depicted out of context or without proper understanding, leading to the erasure of rich and diverse Indigenous traditions and contributing to the marginalization of indigenous peoples According to Leavitt, Covarrubias, Perez, & Fryberg (2015), media representations also tend to marginalize indigenous voices by portraying them as passive victims without agency or as relics of the past Limited representation in mainstream media exacerbates the marginalization experienced by indigenous peoples They are underrepresented both in front of and behind the camera, resulting in a lack of diverse and authentic Indigenous stories being told This further perpetuates their marginalization and denies audiences the opportunity to see the complex realities and contributions of indigenous communities.

Critical Discourse Analysis

2.2.1 Definition and key concepts of Critical Discourse Analysis (CDA)

According to van Dijk (1993), CDA is an interdisciplinary method of studying language that explores the power dynamics and social contexts in which language operates Fairclough (1993) claims that CDA is defined as a subfield of discourse analysis that examines how power, control and dominance are structurally represented in language in both opaque and transparent ways

CDA aims to uncover the hidden ideologies, assumptions, and biases that underlie language use in different contexts in order to show how social power, domination, and inequality are practiced and perpetuated According to Fairclough and Wodak (1997), CDA focuses on social issues and the dynamics of discursive power relations that constitute society and culture It involves analyzing language at multiple levels, including phonology, grammar, lexicon, and discourse structures, to reveal how language is used to maintain or challenge power relations in society However, CDA is not predicated on a single, uniform theory or methodology (Fairclough, 2003; Meyer, 2001; Weiss & Wodak, 2003) CDA is an interdisciplinary approach that views language as influenced by social and cultural factors, rather than as a neutral means of communication, and therefore can be used as a means of exerting power and control According to Wodak & Meyer (2009), CDA is, therefore, more focused on studying social phenomena, which are inherently complex and require a multidisciplinary and multimethodological approach than it is with examining linguistic units as such

Numerous theoretical stances, such as those from linguistics, sociology, anthropology, and psychology, are incorporated within CDA The examination focuses on how language is used to support prevailing ideas and values and to reflect and reinforce social injustices, inequality, and marginalization Van Dijk (1993), for instance, critically analyzes the racist discourses of the white ruling elites in European, British, Australian, New Zealand, North American, Latin American, and South African countries using both linguistic and social psychological methodologies Political science, media studies, psychology, and education are just a few of the disciplines that employ CDA to examine and assess language use in a variety of settings, encourage social change, and strengthen the voices of marginalized people Racist discourses are critically analyzed by van Dijk (1993) in all relevant domains, including politics, business, academia, and education

Some of the key concepts in CDA include discourse, power, ideology, hegemony, and interdiscursivity According to Fairclough & Wodak (1997), discourse refers to how language is utilized in particular contexts and its role in shaping social practices and relationships Power refers to the capacity to influence others and social reality through language and other means CDA researchers are interested in how power is constructed, reinforced, and challenged through discourse This includes structural power relations, such as those based on social class, race, gender, ethnicity, etc It presents open-ended issues about the definition of power used by CDA scholars and the moral standards that enable them to discern between the proper and improper exercise of authority (Billig 2008) Ideology refers to the beliefs, values, and assumptions that are embedded in language and shape people's perceptions of the world In CDA, the idea of language ideologies as developed in linguistic anthropology and sociolinguistics (Blommaert, 1999; Gal, 1998; Gal, 2005; Silverstein, 1998; Silverstein, 2010) is relevant Debates “in which language is central as a topic, a motif, a target, and in which language ideologies are being articulated, formed, amended, and enforced” are where language ideologies must be understood as being constructed and negotiated (Blommaert, 1999) In a broader sense, language ideologies are defined as “cultural conceptions, assumptions, and presuppositions that various social groups use to identify, categorize, and assess language practices” (Gal,

2006) Hegemony refers to the dominant ideas and values that are widely accepted and reinforced in society through language and other forms of persuasion Dominant ideologies are supposed to be “neutral”, with presumptions that are rarely questioned Meanwhile, interdiscursivity refers to the way different discourses intersect and interact with each other in producing meaning and understanding in society (Verschueren,

1999) This means that different discourses from various social groups, cultural traditions, and historical periods influence each other in the creation of social identity, norms, and values

These concepts are important in CDA because they highlight the intersectional nature of language and social power relations It acknowledges that “language use cannot be isolated from the broader social, cultural, and historical contexts in which it occurs” (Pennycook, 2017), and that multiple discourses may be at play in any given situation (Ruiz, 2009) CDA differs from other approaches to language in several ways:

- Focus: The field of CDA studies how larger social, cultural, and political circumstances influence language use On the other hand, to comprehend language use, linguistic analysis typically focuses on the formal aspects of language, such as vocabulary, syntax, and grammatical structures

- Scope: In general, linguistic analysis and conversation analysis tend to have a narrower scope compared to CDA Researchers work on the structure of language at the level of sentences and words in linguistic analysis or look at the organization and structure of conversational exchanges in conversation analysis However, in CDA, researchers examine a broader range of discursive practices, including media texts, political speeches, and institutional language

- Critical orientation: While linguistic analysis and conversation analysis aim to describe and understand language use, CDA takes a more critical approach CDA seeks to uncover hidden power relations, ideologies, and social practices that are embedded in discourse and may be used to legitimize or challenge inequalities or injustices

- Methodology: Linguistic analysis and conversation analysis typically use quantitative and experimental methods to analyze language use In contrast, CDA often employs qualitative methods, such as discourse analysis and critical discourse analysis, to interpret the meaning and significance of language use within social contexts

2.2.2 Origins and development of CDA

In the latter half of the 20th century, CDA became popular as an interdisciplinary method for researching language, power, and societ y Its origins can be found in the critical linguistics of the 1970s, especially in the writings of academics like Tony Trew, Roger Fowler, and Gunther Kress These early pioneers aimed to determine how language plays a role in the upholding and perpetuation of social inequality (Fowler et al., 1979)

The formalization of CDA as a distinct field is primarily credited to Norman Fairclough In his seminal work "Language and Power" (1989), Fairclough established the groundwork for CDA by explaining how discourse both shapes and is shaped by social practices He introduced the concept of “orders of discourse,” which describes the organized ways in which language and communication function within specific social contexts This framework enabled a systematic analysis of the interplay between language and power Fairclough's contributions have significantly influenced linguistics and discourse analysis over the past few decades His approach focuses on social change and the connections between discourse and society, asserting that language is not merely a means of conveying information but also plays a role in maintaining and reproducing power relations He believes that language is not only a tool for transmitting information, but also serves to maintain and reproduce power relations within society

Teun A van Dijk made a substantial addition to the field of CDA by stressing the role that discourse plays in the formation of social cognition and ideology Through his work, Van Dijk broadened the scope of CDA to encompass the analysis of political speech, media discourse, and casual talk His approach integrates cognitive and social dimensions, illustrating how discourse influences and is influenced by social structures and mental models (van Dijk, 1993) Ruth Wodak, who worked with both Fairclough and van Dijk in some research and has her own contribution to CDA, uses a combination of discourse analysis and historical analysis to comprehend how discourses change over time and within certain socio-political situations Wodak's approach highlights the importance of context in analyzing discourse, emphasizing that texts cannot be fully understood without considering their historical, social, and political backgrounds (Wodak, 2001)

Over the years, CDA has diversified and incorporated various theoretical perspectives and methodological tools It now encompasses a range of approaches and each of these approaches offers unique insights into how discourse operates within different social spheres, from media and politics to education and everyday interactions (Blommaert & Bulcaen, 2000)

Over time, CDA continues to evolve, integrating new theories and methodologies to address emerging social issues Social practice influences and reinforces power structures and social relations Therefore, analyzing discourse can help uncover hidden social hierarchies, inequalities, and conflicts Scholars in this field are increasingly incorporating multimodal analysis to study how visual and textual elements combine to convey meaning This expansion reflects the ongoing relevance of CDA in understanding the complex and dynamic nature of discourse in contemporary society (Kress & van Leeuwen, 2001) More recent scholars, such as Mills (2004) and Gee (2014), have extended CDA by incorporating multimodality and new media into their analysis, examining how images, videos, and digital technologies contribute to the creation and negotiation of meaning Thus, CDA has evolved over time to incorporate new theoretical perspectives and empirical approaches, expanding its scope to include issues of social identity, cognition, power/knowledge, multimodality, and new media

Previous studies

Several studies have used Critical Discourse Analysis (CDA) to analyze media texts related to colonialism For instance, Fairclough (1995) conducted a CDA on British newspapers' coverage of the Falkland Islands crisis in 1982 and found that the media played an influential role in legitimizing the British government's actions In his analysis, Fairclough demonstrates how media language can naturalize colonialist ideologies, making them seem commonsensical Although not focused exclusively on colonialism, his framework has been widely applied to such studies (Fairclough,

1995) van Dijk (1993, 1992) conducted a CDA of a UK newspaper's coverage of the Falklands War and concluded that the discourse served to justify English's colonialist position in the conflict (van Dijk, 1992; van Dijk, 1993) His analysis highlights how media discourse can be used to reinforce nationalistic and colonialist sentiments by framing conflicts in terms that favor the colonizer

Another study by Wodak and Reisigl (2001) explores how discourse constructs and perpetuates discriminatory ideologies, including those rooted in colonialism They provide an in-depth analysis of how language in media and political texts can reinforce stereotypes and social hierarchies (Wodak & Reisigl, 2001)

Smith (2000) employs CDA to analyze how Disney films, including Pocahontas, depict colonial encounters in his study “To Disneyize or Not to

Disneyize? How the Animated Film Has Represented the Civilized and the Savage.”

He examines the language and visual elements used to represent colonizers and the colonized The study demonstrates that the films normalize colonial power dynamics by depicting colonizers as enlightened and benevolent, while the colonized are shown as noble but needing Western civilization (Smith, 2000)

Hall (1997) explores how media and popular culture construct binary oppositions in “The West and the Rest: Discourse and Power.” He concludes that the discourse of civilized colonialism is maintained through media representations that depict Western intervention as necessary for the progress and modernization of non- Western societies (Hall, 1997)

Bhabha (1994) in The Location of Culture examines the concept of mimicry and how colonial discourse produces a blurred copy of the colonizer, which is almost the same, but not quite This work highlights the ambivalence of colonial discourse and the complex identity negotiations it entails (Bhabha, 1994)

Loomba (2005) in Colonialism/Postcolonialism provides a comprehensive overview of colonial and post-colonial studies, discussing how colonial discourses have shaped modern identities and power structures She emphasizes the importance of context in understanding these dynamics (Loomba, 2005)

These previous studies reflect the usefulness of CDA for uncovering underlying power relations and ideologies in media discourse related to civilized colonialism Through an examination of the linguistic and social components of communication, CDA looks at how language use establishes and preserves power relations CDA recognizes that language is not neutral but rather reflective of societal norms and power structures It attributes meaning to more than just the surface-level text and emphasizes the importance of context, including social, cultural, and historical factors, in shaping language use

However, there are still significant research gaps in these studies First and foremost, most existing research tends to focus on Western media and perspectives, often neglecting the integration of native and indigenous viewpoints (Bhabha, 1994; Loomba, 2005) This oversight limits the understanding of how colonialist discourses are received, interpreted, and resisted by the colonized populations themselves

Incorporating native perspectives would provide a more comprehensive and balanced view of the impact of colonialism

In addition, many studies predominantly focus on race and ethnicity, frequently overlooking how colonialist discourses intersect with other critical social categories such as gender, class, and sexuality (Stoler, 2002; McClintock, 1995) This restricted emphasis may lead to a partial comprehension of the intricate ways in which colonialism functions and impacts various societal groupings For instance, colonialist narratives often impose specific gender roles and hierarchies, which are crucial to understanding the full scope of their impact Similarly, the intersection of class with colonialist ideologies can reveal how economic exploitation is justified and perpetuated through media and discourse

To give a more thorough and nuanced knowledge of the connections between different types of oppression, a more intersectional approach is required (Crenshaw,

1989) This involves analyzing how colonialist discourses simultaneously shape and are shaped by these multiple social categories By doing so, researchers can uncover the multifaceted strategies in which colonial power is uncovered Additionally, there is a need for longitudinal studies that track the evolution of colonialist narratives over time and their ongoing effects in post-colonial societies (Ashcroft et al., 2002) Such studies would offer insights into the persistence of colonial ideologies and their transformation in contemporary contexts.

On the other hand, it looks like there are not many studies specifically by Vietnamese authors using CDA on the topic of Western civilized colonialism A book by Truong Buu Lam (2000) “Colonialism Experienced: Vietnamese Writings on Colonialism, 1900-1931” does not explicitly use CDA but provides valuable insights into how Vietnamese intellectuals perceived and responded to Western colonialism However, this work focuses on writings from 1900 to 1931, which may leave out significant developments in civilizational discourse that occurred later in the colonial period and during the transition to independence The book seems to focus on political and ideological responses to colonialism, which may leave room for further exploration of social, economic, and cultural impacts from a broader societal perspective

By addressing these gaps, future research can provide a more holistic and comprehensive analysis of civilized colonialism, enriching the field of CDA and contributing to a more equitable understanding of historical and contemporary power dynamics.

METHODOLOGY

Research questions

Determining the methods for this study involves the research questions:

1 How are the colonized and the colonizers represented linguistically in the movie Pocahontas (1995)?

2 To what extent do the linguistic representations of the colonized and the colonizers in Pocahontas (1995) rely on binary oppositions?

Research paradigm

Research paradigms refer to the underlying beliefs and assumptions that shape the structure of research They are crucial because they establish the philosophical framework for a research project, providing a set of beliefs and understandings from which theories and practices are developed

For this study, since it is from CDA perspective, I choose the critical research paradigm - a methodology that approaches societal issues methodically, impartially, and critically The core concerns of the critical paradigm are power, inequality, and social reform Though it has some highly varied viewpoints, the critical paradigm frequently incorporates concepts pioneered by feminist scholars like Fraser (1989) as well as subsequent works by early social theorists like Horkheimer (Calhoun, Gerteis, Moody, Pfaff, & Virk, 2007) Critical paradigm is an essential analytical framework for understanding and unpacking social actors' representation It plays a crucial role in critically dissecting the power dynamics embedded within language and discourse With a critical paradigm, this study examines how social actors are portrayed in various forms of communication and finds out on the underlying ideologies biases and social structures This analytical approach enables us to question and deconstruct the discursive strategies employed by those in power fostering a more inclusive and equitable representation of social actors Critical paradigm helps scholars and activists to engage in meaningful critique and contribute to positive social change.

Research design

In the social sciences and other domains, qualitative research design is a technique used to investigate and comprehend people's experiences, viewpoints, and behaviors Its main objective is to collect non-numerical data (words, pictures, and observations) to obtain understanding of the underlying reasons and motivations behind certain phenomena Researchers use this approach to uncover rich, detailed information that can assist students in thoroughly comprehending intricate social issues Qualitative research aims to comprehend the meanings and interpretations that individuals or groups ascribe to their experiences, in contrast to quantitative research, which concentrates on numerical data and statistical analysis (Denzin & Lincoln,

2018) Qualitative research design is valuable due to some following reasons:

- Richness and Depth: Qualitative research allows researchers to delve deeply into a particular phenomenon, exploring the nuances, complexities, and context that quantitative data may not capture (Jones et al., 2021)

- Contextual Understanding: It helps in understanding the social and cultural context in which behaviors, beliefs, and experiences occur, providing a more holistic view of the subject under study (De Regt, 2017)

- Flexibility: Qualitative research methods are frequently adaptable and can be used to address evolving research topics or themes that surface throughout the investigation (Creswell, 2013)

- Generating Hypotheses: Qualitative research can contribute to the development of theories and hypotheses that can be investigated and verified by quantitative techniques (Kurzhals, 2021)

- Exploratory Research: It is useful for exploring new topics or areas where little prior research exists, helping to generate new insights and knowledge (Swedberg,

- Participant Perspectives: Qualitative research prioritizes the perspectives and voices of participants, allowing for a more nuanced understanding of their experiences (Creswell, 2013)

- Complementing Quantitative Data: Qualitative research can complement quantitative data by providing a deeper understanding of the reasons behind numerical trends or patterns (England, 2021)

Overall, qualitative research design is valuable for exploring complex social phenomena, understanding participant perspectives, and generating rich, detailed insights that can inform theory-building, program development, and policy recommendations Researchers should consider using qualitative methods when seeking in-depth understanding, exploring new topics, or capturing the complexity of human experiences.

Research methods

3.4.1 The data (the movie/language of the characters)

The data source is from the script of the movie Pocahontas produced by Disney in 1995 The researcher got the full script from the website Script.com (https://www.scripts.com/script/pocahontas_16010) This study focuses on spoken language by the characters, not including the non-verbal language or visual data

Data collection refers to the process of gathering relevant information or data that can be used for analysis Depending on the goals of the study and the type of data, it may require a variety of approaches and strategies In terms of data collection, the words, sentences and conversations which can give the ideology of civilized colonialism are collected from the script of the movie Pocahontas (1995) In this study,

I collect data by thematic analysis techniques with 2 steps:

• Reading the script: Thoroughly read through the entire script of the movie to identify specific lines that express notions of “civilized” or “uncivilized” awareness

• Identifying relevant data: Highlight and extract words, sentences, and conversations that reflect the themes of civilized colonialism

To answer the research questions, the linguistic features are considered in binary oppositions to see how the ideological position of the speaker is encoded in the movie The analysis focuses on vocabulary (by examining the choice of words used to describe the settlers and the native people) and grammar (by analyzing the grammatical structures that convey power dynamics and cultural hierarchies)

This study follows the 3 stages in the CDA produced by Fairclough (2001) Step 1: Description The researcher describes the vocabulary or grammar in detail, paying attention to its linguistic features and possible interpretation

Step 2: Interpretation This stage analyzes the underlying power relations, ideologies, and social structures embedded in the text It may follow questions given by Fairclough (2001): what is going on, who is involved, what relationships are at issue, and what is the role of language

Step 3: Explanation This step explains the implications of the analysis and concerns with the relationship between those processes and social practices

For example, in terms of vocabulary, the word “savage” is outstanding and frequently used, which appears more than 40 times throughout the movie I describe it by the meaning from the dictionary as well as from reality In the Oxford Learners Dictionary, “savage” is a cruel and violent person; or an offensive word for somebody simple and not developed This word has been historically used to depict indigenous peoples, colonized populations, and marginalized communities as uncivilized, primitive, and inferior It is true in the case of the movie Pocahontas when the colonizers call the colonized “savages” After description, I interpret this word by figuring out how power relations, ideologies, and social structures is represented in this vocabulary When

“savage” is employed, it serves to dehumanize and “otherize” certain groups, justifying their exploitation and subjugation By labeling individuals or communities as “savages”, dominant groups assert their superiority and justify their actions of conquest, dispossession, and cultural erasure For explanation, “savage” is not merely a neutral descriptor, but a deeply political and ideological construct rooted in colonialism, imperialism, and racism Its continued use reflects enduring power dynamics and systemic inequalities that privilege certain groups while marginalizing others By unpacking the discursive formations around “savage,” I can challenge and disrupt the oppressive narratives that cause harm and injustice

In the case of grammar, there is a line “In a land I can claim, a land I can tame” I study the word “claim”, “tame” and the grammatical structure of 2 parallel clauses ‘In a land I can claim”, ‘a land I can tame” First, for description, “claim” means to assert ownership or control over something, often without the need for prior ownership or consideration of existing rights; “tame” means to domesticate or bring under control, often implying the subjugation of something wild or untamed The line consists of two parallel clauses and each clause follows a similar grammatical structure:

Relative Clause: I can claim / I can tame

The use of the first-person pronoun “I” establishes the speaker's agency and dominance The modal verb “can” underscores the capability and entitlement to perform these actions, while the verbs “claim” and “tame” highlight themes of possession and domestication The grammatical structure of this line with the repetition of almost all the words in 2 clauses serves to reinforce colonial ideologies of ownership and control.

FINDINGS AND DISCUSSIONS

Findings

Analyzing "Pocahontas" (1995) through CDA, the language in the movie is revealed as a powerful tool for depicting the notions of civilized colonialism Through examining linguistic patterns and grammar structures, it becomes evident how the film's dialogue and narrative serve to reinforce the dominant ideology of colonialism as a civilized endeavor The language used by characters in the film not only reflects power dynamics but also perpetuates the idea of a superior, "civilized" culture imposing its values and norms on indigenous populations, thus establishing and maintaining control

4.1.1 Linguistic representations of the colonized and the colonizers in the movie Pocahontas (1995)

The language in the film ultimately functions as a tool of hegemony, shaping viewers' perceptions and reinforcing the myth of benevolent colonialism These linguistic strategies effectively construct a narrative that justifies colonial expansion and domination while delegitimizing indigenous cultures Through a CDA lens, it is clear how the language in “Pocahontas” is intricately woven into the fabric of colonial discourse, perpetuating and normalizing the power dynamics inherent in civilized colonialism a Representation of the colonizers

• The colonizers talking about the colonized:

Throughout the movie, the British settlers call the native peoples “savages” which carries connotations of violence, barbarism, and lack of sophistication This word dehumanizes the natives, and I code it as dehumanization (Y1) In addition, sometimes “savages” is added with aggressive adjectives, for example:

• ….nothing, not wind nor rain, nor a thousand bloodthirsty savages shall stand in our way (line 77)

• They're a bunch of filthy, stinking savages (line 967)

It is a way of reinforcing colonial hierarchies and perpetuating stereotypes, also emphasizing Y1 “Bloodthirsty” suggests a strong desire for blood or violence, implying savagery and brutality Historically, it has been used by colonizers and conquerors to justify violence, conquest, and oppression against indigenous peoples and other marginalized groups It serves to justify discriminatory actions and policies by framing the targeted group as a threat to civilization or progress Similarly, the words “filthy” and “stinking” are highly pejorative and dehumanizing They convey strong negative connotations Therefore, the phrase “filthy, stinking savages” dehumanizes and demonizes the targeted group, portraying them as inherently violent, barbaric, and inferior In grammar, the sentence “They're a bunch of filthy, stinking savages” uses a simple declarative structure, which presents the statement as a fact This sentence perpetuates an ideology of superiority and dehumanization It reflects and reinforces colonialist and racist attitudes

The racist also exists in the way the colonizers describe the colonized appearances:

• Their skin's a hellish red (line 903)

This line emphasizes racial differences (Y3) to justify the settlers' dominance

The words “hellish” and “red” are used to describe the skin color of the native peoples

“Hellish” has strong negative connotations, suggesting something evil or infernal The phrase “hellish red” echoes racial stereotypes that dehumanize people based on their skin color The sentence uses a possessive structure (their skin’s), which emphasizes the characteristic as inherent to the group The use of “their” creates a clear distinction between the colonizers (the white) and the colonized (the red), reinforcing an “us vs them” mentality This sentence reflects and reinforces racist attitudes by associating skin color Such language contributes to the marginalization and stigmatization of Native America in the context It normalizes prejudice and discrimination based on physical appearance

Another kind of label that the colonizers give the colonized is “heathens” It implies a sense of otherness and inferiority as well as reflecting biases or stereotypes

In the movie Pocahontas, the word “heathens” does not stand alone

- I'm counting on you to make sure those filthy heathens don't disrupt our mission (line 277)

- Why do you think those insolent heathens attacked us? (line 598)

- What can you expect from filthy little heathens? (line 901)

“Filthy” is pejorative and carries a negative connotation and “insolent” conveys a sense of arrogance, disrespect, or rudeness These terms suggest the image of the colonized linked with dirtiness, impurity, and a sense of moral superiority on the part of the colonizers They reflect the colonizers’ belief in their own moral superiority (Y5)

At the same time, the colonizers see the colonized as inferior in intelligence or status Therefore, I have the code Y7 of Inferiority It is reflected in the word

“peasants” by colonizers referring to the colonized

- I'll need those witless peasants to dig up my gold, won't I? (line 81)

- I'm very well aware that this is my last chance for glory But mark my words, Wiggins, when King James sees the gold these peasants unearth, success will be mine, at last (line 286)

“Witless” suggests a lack of intelligence or understanding, implying inferiority, while “peasants’ denotes individuals from rural or low socio-economic backgrounds, often associated with lack of education or sophistication It serves to legitimize colonial rule by reinforcing stereotypes of the colonized as primitive and in need of guidance and control This degrades and devalues the colonized population, portraying them as intellectually inferior and culturally backward

The strongest words or phrases that the colonizers use on the colonized are

“vermin” and “barely even human" which convey a sense of dehumanization, exploitation, and violence perpetrated against the colonized population They are put together with repeated “savages”

• They're only good when dead

They're vermin as I said and worse

These words dehumanize and delegitimize the humanity of the colonized population, portraying them as inferior and unworthy of respect or consideration It serves to justify colonial violence, dispossession, and oppression This discourse of savagery not only shapes public perceptions but also informs policies, practices, and systems that perpetuate inequality and injustice

For interpretation, the colonizers use several words that demonstrate their superiority by labeling the colonized inferior This discourse of savagery not only shapes public perceptions but also informs policies, practices, and systems that perpetuate inequality and injustice The phrases “filthy heathens” and “filthy, stinking savages” reflect a power dynamic where the speaker positions themselves as morally superior or righteous compared to the “heathens” they are referring to They reinforce a sense of hierarchy and dominance, also perpetuate stereotypes and prejudices of the colonizers against the colonized Some other vocabulary like “witless peasants”,

“vermin” and “barely even human” reflect power relations inherent in colonial discourse, where colonizers assert dominance and control over the colonized, perpetuating ideologies of racial and cultural superiority The language used reinforces power imbalances by portraying the targeted group as otherworldly or monstrous, which can justify discriminatory attitudes and behaviors

Colonizers position themselves as intellectually and morally superior It upholds colonial attitudes that portray indigenous populations as inherently inferior and in need of civilization and enlightenment by the colonizers Also, the colonizers justify their subjugation and exploitation of the colonized as necessary for maintaining order and civilization By using linguistic features, the colonizers reinforce social structures of domination and subordination, where colonized populations are marginalized and oppressed based on racial, cultural, and socio-economic factors

The language used by the colonizers reflects a colonial ideology centered on domination, exploitation, and cultural superiority The colonizers perceive themselves as morally and intellectually superior to the indigenous peoples, justifying their actions of land appropriation and cultural imposition The assertion of ownership over the land and the belief in the colonizers' right to “improve” and “civilize” the indigenous peoples are indicative of the power dynamics inherent in colonialism

In explanation, the continued use of such vocabulary reflects enduring power dynamics and systemic inequalities that privilege certain groups while marginalizing others By unpacking the discursive formations around “savage”, I can challenge and disrupt the oppressive narratives that cause harm and injustice The use of language like “filthy heathens”, “witless peasants”, “vermin” and “barely even human” contributes to the stigmatization and dehumanization It leads to discrimination, prejudice, and even violence against those who are perceived as different or inferior

In this case, it is the attitude of the colonizers against the colonized It perpetuates harmful stereotypes and reinforces colonial power dynamics The language used in the data reinforces colonial power structures by legitimizing the colonizers' authority and justifying their actions of land seizure and cultural imposition By framing indigenous cultures as backward and in need of Western intervention, the colonizers justify their own dominance and exploitation

• The colonizers talking about themselves:

On the contrary to the colonizers’ words about the colonized, their words about themselves and their “civilization” are full of pride and confidence

-Do you think we'll meet some savages?

If we do, we shall be sure to give them a proper English greeting (line 267-268) -Now, gentlemen, to work (line 334)

- London, it's a very big village It's got streets filled with carriages, bridges over the rivers, and buildings as tall as trees (line 495-497)

Discussions

Like Fairclough (1995), Van Dijk (1993), and Wodak and Reisigl (2001), my study employs CDA to uncover underlying power relations and ideologies in media discourse All studies, including mine, highlight how language can normalize colonialist ideologies, portraying Western intervention as necessary or benevolent Like Smith (2000) and Hall (1997), my analysis focuses on how the movie Pocahontas constructs and perpetuates stereotypes related to civilized colonialism In addition, this thesis recognizes that language is not neutral but reflects and reinforces societal norms and power dynamics They emphasize the importance of analyzing language within broader social, cultural, and historical contexts to understand its implications (Fairclough, 1995; Van Dijk, 1993; Wodak & Reisigl, 2001)

However, this study specifically analyzes a Disney film from the perspective of how Native American cultures are represented and interpreted through a Western lens

This approach differs from previous studies that primarily focus on Western media perspectives, adding a unique dimension by examining how indigenous voices and perspectives are portrayed or marginalized within the narrative (Smith, 2012) The findings build upon and extend existing literature on civilized colonialism by offering a focused analysis of Pocahontas as a case study within media discourse By integrating perspectives that are often marginalized in mainstream analysis, this study contributes to a better understanding of how media representations influence perceptions of history, identity, and power dynamics (Smith, 2000; Hall, 1997) In addition, my study has approached the issue of gender in colonialism, despite only in a preliminary stage, considering the gaps of many previous studies that overlook how colonialist discourses intersect with other critical social categories like gender, class, and sexuality (Stoler, 2002; McClintock, 1995) In this study, I point out the difference in the roles of male and female in society in the 17 th century which is an essential time of the colonization era Although Pocahontas is the only daughter of the tribal leader Powhatan, she as a female is expected to act to be obedient and her status is always lower than her father’s

The linguistic representation of characters in the film Pocahontas both reinforces and challenges dominant discourses about colonialism This involves examining the language used by both the colonizers and the native peoples, and how these linguistic choices reflect and contest the power dynamics and ideologies of colonialism The analysis of Pocahontas (1995) underscores the complexities in how linguistic representations construct and reinforce colonial ideologies, power dynamics, and cultural identities These findings contribute to a broader understanding of how language in media reflects and shapes societal perceptions of colonialism, identity, and cultural difference (Gilman, 1985)

Colonialism persists through language in several significant ways, influencing power dynamics, cultural dominance, and identity formation For instance, the dominance of certain languages in global communication, education, and media perpetuates cultural hegemony (Phillipson, 1992) Colonial administrations historically imposed language policies that favored the dominant colonial language for official purposes, legal systems, and education, limiting access to knowledge and participation in governance for non-speakers of the dominant language (Pennycook, 1998) Languages of former colonial powers (e.g., English, French, Spanish) often hold higher prestige and economic value, reinforcing perceptions of cultural and intellectual superiority (May, 2001)

Additionally, language in media, literature, and academic discourse has been used to perpetuate stereotypes and reinforce colonial narratives Indigenous peoples and cultures were often depicted through derogatory language, simplifying complex identities and histories to fit colonial agendas (Said, 1978; Fanon, 1963) Recognizing and addressing linguistic inequalities and biases is crucial for promoting linguistic diversity, cultural equity, and inclusive development in a post-colonial world This type of discourse can still be relevant today in contexts where corporations or governments seek to change local land use for development projects, often framing their actions as improvements or necessities for economic development.

CONCLUSION

Summary of findings

In this thesis, I have explored the linguistic representations of the colonized and the colonizers in Disney's "Pocahontas" (1995), utilizing CDA as a framework This analysis was driven by two primary research questions:

1 How are the colonized and the colonizers represented linguistically in Pocahontas (1995)?

2 To what extent do the linguistic representations rely on binary oppositions? The analysis reveals that the representation of the colonized characters in the film often use language that is deeply embedded in their cultural identity Key elements such as spiritual references, communal values, and a deep connection to nature frequently appear in their dialogue, underscoring a rich cultural distinctiveness However, these representations are not devoid of problematic elements; the colonized were often portrayed through linguistic stereotypes that either oversimplified or exoticized their speech patterns, thereby contributing to a reductive portrayal of their cultures

Conversely, the language used by the colonizers has an authoritative and commanding tone, which effectively reinforces their positions of dominance and power Their linguistic expressions are imbued with themes of cultural superiority, rationality, and progressiveness Such language is strategically employed to legitimize their colonial endeavors and to construct a narrative of inherent superiority over the colonized This portrayal not only depicted them as inherently superior but also justified their dominion and control as a natural and beneficial order

Moreover, the film employs binary oppositions such as “civilized versus savages” to construct and reinforce colonial ideologies Through detailed linguistic analysis, it becomes evident that these binary oppositions reflect cultural hierarchies and stereotypes These oppositions serve as a powerful narrative instrumental in perpetuating stereotypes and hierarchies based on race and culture, thereby sustaining a discourse that upholds the colonizers' superiority and the colonized's subordination

This dichotomous portrayal not only emphasizes the perceived differences between the two groups but also elucidates internal variances within each group The examination of such discourses in “Pocahontas” (1995) provides deeper insights into how colonial narratives are constructed and the impact they have on our understanding of history and otherness

This thesis contributes to the broader discussions on representation, identity politics, and historical consciousness in media studies and beyond, urging a more nuanced consideration of how film and other media shape our perceptions of cultural and historical realities.

Implications

Cultural Representation and Identity: My research on the movie Pocahontas

(1995) sheds light on the significant role media plays in shaping perceptions of cultural identity The film's portrayal of both the colonized (Native Americans) and the colonizers (English settlers) reflects ongoing discussions about indigenous cultures, colonial history, and racial hierarchies By depicting the colonized with a mixture of mysticism and naivety, and the colonizers as enlightened and progressive, the film not only entertains but also educates by giving viewers an understanding of American history

Power Dynamics and Colonial Narratives: The language used in “Pocahontas” perpetuates a specific narrative of colonialism By consistently presenting the settlers as high-civilized and the Native Americans as primitive or exotic, the film reinforces longstanding power imbalances This portrayal can justify historical injustices and skew our understanding of the past

Critical Awareness and Media Literacy: This thesis highlights the critical need for media literacy, encouraging viewers to scrutinize the narratives presented in media like “Pocahontas.” Understanding the linguistic cues and representations within the film empowers viewers to question stereotypes and challenge the dominant narratives that often gloss over the complexities and brutalities of colonial history This form of critical engagement is essential for developing a more nuanced view of past and present intercultural relations

In summary, delving into the linguistic representations in the movie

“Pocahontas” (1995) has revealed how language serves to construct and reinforce specific narratives about colonialism, power, and identity By critically examining the portrayals of both the colonized and the colonizers, this thesis contributes to broader discussions about how media influences our understanding of history and cultural identity This has significant implications for how audiences, especially young viewers, understand history and the legacy of colonialism Through this study,

I see the power of media not just to reflect but to shape historical consciousness and identity politics, underscoring the importance of critical media consumption.

Limitations and suggestions for further research

This study has not filled the research gaps of predominantly focusing on race and ethnicity Future research should explore intersections of colonialist discourses with other social categories like gender, class, and sexuality Using this method could lead to a more sophisticated comprehension of the ways in which different types of oppression interact and materialize in media depictions of colonial interactions

In addition, future research could explore the impact of "Pocahontas" on younger audiences' understanding of history and colonialism Comparative studies with other films depicting colonialism could provide a broader perspective on how media shapes historical narratives Additionally, more work is needed to highlight and incorporate indigenous perspectives in media representations, ensuring a more accurate and respectful portrayal of history and culture

In examining the movie Pocahontas (1995) through the lens of CDA to analyze civilized colonialism, this thesis has illuminated the ways in which language, power dynamics, and cultural representation intertwine to perpetuate colonial ideologies in modern media Drawing on CDA and insights from previous studies, this research has explored how the film constructs and reinforces narratives of Western superiority and indigenous inferiority The language is not merely as a neutral tool of communication, but as a mechanism to normalize colonialist ideologies

Moreover, this thesis has highlighted the ongoing relevance of colonialism in contemporary contexts, manifesting in neocolonial practices, cultural hegemony, and linguistic inequalities The imposition of dominant languages, erasure of indigenous languages, and representation through stereotypical discourse continue to shape global narratives and perpetuate inequalities inherited from colonial histories

Nevertheless, amidst these challenges, there are movements of resistance and decolonization Initiatives to reclaim indigenous languages, challenge dominant narratives, and promote cultural diversity offer pathways toward a more equitable and inclusive representation in media and beyond These efforts underscore the importance of acknowledging and amplifying marginalized voices, while critically engaging with the legacies of colonialism in shaping contemporary societies

By critically analyzing its narrative strategies and cultural representations, this thesis contributes to broader discussions on how the media shapes how people view history, identity, and power Moving forward, it is imperative to continue exploring alternative narratives, amplifying indigenous perspectives, and fostering a dialogue that embraces linguistic and cultural diversity as integral to a more just and inclusive global community

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[Line 1]: We sailed the open sea

For glory, God and gold

For the New World is like heaven

And we'll all be rich and free

Or so we have been told

So we have been told

[Line 10]: For glory, God, and gold

Ready to hoist the cannon?

Hey, look Is that Smith?

That's him, all right The old sea dog

Captain John Smith? I've heard amazing stories about him

Are you coming on this voyage, too?

Course he is, you half-wit! You can't fight Indians without John Smith! That's right I'm not about to let you boys have all the fun

[Line 20]: On the beaches of Virginny

Gold you pick right off a tree

With a nugget for my Winnie

And another one for me

And all the rest'll go

It's glory, God, and gold

Come on, lads! Come on!

Faster! She's taking on more water!

The cannons are breaking loose!

[Line 40]: Steady on your course!

It's all right, Thomas! We'll get her tied off Say your prayers, lads!

Stay your course! He's lost!

Hang on, Thomas I've got you!

Put your back into it!

Of course you'd all do the same for me

Of course we would! Absolutely!

Thank heavens he's been successfully retrieved

Don't lose heart, men It won't be long before we reach the New World, and remember what awaits us there

Freedom, prosperity, the adventure of our lives

You're the finest crew England has to offer, and nothing, not wind nor rain, nor a thousand bloodthirsty savages shall stand in our way

[Line 80]: I'm sure the men were most exhilarated!

Let us hope so I'll need those witless peasants to dig up my gold, won't I?

This New World's going to be great, John

I'm going to get a pile of gold, build me a big house, and if any Indian tries to stop me, I'll blast him

Just worry about that fortune of yours, Thomas

Leave the savages to me

You think they'll give us trouble?

Not as much trouble as Smith'll give them

We'll kill ourselves an injun

Or maybe two or three

[Line 90]: We're stalwart men and bold of the Virginia Company

What do you suppose the New World will look like?

Like all the others, I suppose

I've seen hundreds of New Worlds, Thomas

What could possibly be different about this one?

Steady as the beating drum

Singing to the cedar flute

[Line 100]: Seasons go and seasons come

Bring the corn and bear the fruit

By the waters sweet and clean

Where the mighty sturgeon lives

Plant the squash and reap the bean

All the earth our Mother gives

O, Great Spirit, hear our song

Help us keep the ancient ways

Keep the sacred fires strong

Walk in balance all our days

[Line 110]: Seasons go and seasons come

Steady as the beating drum

Plum to seed to bud to plum

Steady as the beating drum

It's good to be home

With the help of our brothers, our villages are safe again

Your return has brought much joy to the village

Look at all the smiling faces

Yes But there's one smiling face I don't see

[Line 120]: Where is my daughter?

She has her mother's spirit

She goes wherever the wind takes her

[Line 130]: No! Not that way

Pocahontas? Are you all right?

You'd better be all right, because I'm not coming in after you

Don't you think we're getting a little old for these games?

Help me turn this thing over

What were you doing up there?

About the dream again? Have you figured it out yet?

[Line 140]: I know it means something, I just don't know what

You should ask your father about it

Quit playing around We have to get back

The battle lasted from the rising of the sun until the evening shadows fell

Our warriors fought with courage, but none as bravely as Kocoum, for he attacked with the fierce strength of the bear

He has proven himself to be

[Line 150]: I especially love the smile

destroying every enemy in his path

Tonight, we will feast in his honour

Seeing you gives me greatjoy

I'm so glad you've come home safely

Come with me We have much to talk about

I want to hear everything you've been doing

[Line 160]: Father, for many nights now, I've been having a very strange dream

It's telling me something's about to happen, something exciting

Yes Something exciting is about to happen

Kocoum has asked to seek your hand in marriage

I told him it would make my heart soar

My daughter, Kocoum will make a fine husband

He is loyal and strong and will build you a good house with sturdy walls

[Line 170]: With him, you will be safe from harm

Father, I think my dream is pointing me down another path

This is the right path for you

You are the daughter of the chief

It is time to take your place among our people

Even the wild mountain stream must someday join the big river

As the river cuts his path

Though the river's proud and strong

[Line 180]: He will choose the smoothest course

That's why rivers live so long

As the steady beating drum

Your mother wore this for our wedding

It was her dream to see you wear it at your own

He wants me to be steady

But it's not steady at all

What I love most about rivers is

[Line 190]: You can't step in the same river twice

But people, I guess can't live like that

We all must pay a price

To be safe we lose our chance of ever knowing

What's around the river bend

Waiting just around the river bend

Just around the river bend

Where the gulls fly free

What I dream the day might send

Just around the river bend for me

I feel it there beyond those trees Or right behind these waterfalls Can I ignore that sound of distant drumming?

For a handsome, sturdy husband who builds handsome, sturdy walls And never dreams that something might be coming

[Line 210]: Just around the river bend

Just around the river bend

Why do all my dreams extend

Just around the river bend?

Just around the river bend

Should I choose the smoothest course

[Line 220]: Steady as the beating drum?

Is all my dreaming at an end?

Or do you still wait for me, dream giver?

Just around the river bend

Grandmother Willow, I need to talk to you

I was hoping you'd visit today

[Line 230]: That's what I wanted to talk to you about

My father wants me to marry Kocoum

Kocoum? But he's so serious!

I know My father thinks it's the right path for me

But lately, I've been having this dream, and I think it's

Oh, a dream! Let's hear all about it!

Now, child, you were saying?

Well, I'm running through the woods, and then right there in front of me is an arrow

As I look at it, it starts to spin

[Line 240]: A spinning arrow? How unusual!

Yes, it spins faster and faster and faster until, suddenly, it stops

Well, it seems to me this spinning arrow is pointing you down your path

But, Grandmother Willow, what is my path?

How am I ever going to find it?

Your mother asked me the very same question

She did? What did you tell her?

All around you are spirits, child

They live in the earth, the water, the sky

[Line 250]: If you listen, they will guide you

What is it telling you?

Let it break upon you like a wave upon the sand

Look at it, Wiggins, an entire New World chock-full of gold, just waiting for me And scores of adventures waiting for us, right, Percy?

Do you think we'll meet some savages?

If we do, we shall be sure to give them a proper English greeting

[Line 270]: And he came so highly recommended

It's perfect, the water's deep enough We can pull right up to shore

Very well, then Give the order

I've got a crew assembled, and they're ready to go

I'm counting on you to make sure those filthy heathens don't disrupt our mission Well, if they're anything like the savages I've fought before, it's nothing I can't handle Right That'll be all, Smith There's a good man

The men like Smith, don't they?

I've never been a popular man

Don't think I don't know what those backstabbers at court say about me

Oh, yes, all that talk about being a pathetic social climber who's failed at everything I'm very well aware that this is my last chance for glory But mark my words, Wiggins, when King James sees the gold these peasants unearth, success will be mine, at last Wake up! Shake a leg!

Two of you up on the yardarm!

[Line 290]: And it's all ours I've never seen anything like it

It can look like Ratcliffe's knickers for all I care, just as long as I get off this stinking boat!

Come on, men We didn't come all this way just to look at it

Keep it taut, lads Keep it taut! Steady! Steady!

Hold up! That's far enough!

All right now tie her off!

Here, John, tie off this end

What are you doing up there?

[Line 300]: Well you're a strange looking fellow

Here you go It's a biscuit

It's food Well, sort of

Well, try eating it for four months straight

You got a friend back there?

Hey what the What ? Watch out

No get that Look out!

John, you better get down here!

[Line 310]: The governor's coming ashore

Did you see their skin?

They have hair on their faces like dogs

My brothers, we must know more about these visitors

Kekata, what do you see?

These are not men like us but strange beasts with bodies that shine like the sun, and weapons that spout fire and thunder

They prowl the earth like ravenous wolves, consuming everything in their path

Great Powhatan, I will lead our warriors to the river and attack

[Line 320]: We will destroy these invaders the way we destroyed the Massawomecks

Kocoum, in that battle we knew how to fight our enemy, but these pale visitors are strange to us

Take some men to the river to observe them

Let us hope they do not intend to stay

I hereby claim this land and all its riches in the name of His Majesty, King James the First, and do so name this settlement Jamestown

Bravo! Bravo! Beautifully spoken, sir!

We must be all squeaky clean for the New World

Captain Smith, it appears I've selected the perfect location

[Line 330]: Not a savage in sight

Just because we don't see them doesn't mean they're not out there

Then perhaps you should venture forth and determine their whereabouts

If there are any Indians out there, I'll find them

You men, get the ship unloaded, you men build the fort

The rest of you break out the shovels!

It's time to start digging!

Well, of course! Let's not forget what the Spanish found when they came to the New World

[Line 340]: Gold! Mountains of it

Why, for years, they've been ravaging the New World of its most precious resources But now it's our turn

The gold of Cortéz the jewels of Pizarro will seem like mere trinkets by this time tomorrow

The gold we find here will dwarf them by far

Oh, with all you got in ya, boys

[Line 350]: Dig till ya drop

Uncover those lovely pebbles that sparkle and shine

And it's mine, mine, mine

And dig and dig and diggety dig

Hey, nonny, nonny hi, nonny, nonny

[Line 360]: Ooh, how I love it

Hey, nonny, nonny, hi, nonny, nonny

Hey, nonny, nonny, hi, nonny, nonny

There'll be heaps of it

And I'll be on top of the heap

My rivals back home it's not that I'm bitter

But think how they'll squirm when they see how I glitter

The ladies at court will be all a-twitter

[Line 370]: The king will reward me

He'll knight me No! Lord me

It's mine! Mine, mine for the taking

It's mine, boys Mine me that gold

With those nuggets dug it's glory they'll give me

My dear friend, King Jimmy will probably build me a shrine when all of the gold is mine

And dig and dig and diggety dig

All of my life I have searched for a land like this one

A wild or more challenging country I couldn't design

Hundreds of dangers await and I don't plan to miss one

[Line 380]: In a land I can claim, a land I can tame

The greatest adventure is mine

Make this island my land

[Line 390]: Make the mounds big, boys I'd help you to dig, boys

But I've got this crick in me spine

It all can be sold

So go for the gold

We know which is here

It's all right I'm not going to hurt you

Here Let me help you out of there

You don't understand a word I'm saying, do you?

Let it break upon you

Like a wave upon the sand

What? What did you say?

That's it Keep at it, men

Keep digging It's got to be here somewhere

There's 30 more down by the ridge

[Line 420]: That makes more than 100!

Nothing but rocks and dirt, sir

How long are we going to keep digging like this, sir? We're slaving away, busting our backs day and night For king and country

Savages! It's an ambush! Arm yourselves!

Make sure every man has a musket!

Where's that blasted Smith when I need him?

Shut up Shut up, you fools! They'll be back

Get the rest of the cannons ashore, finish building the fort! Aye, Governor!

And you learn to use that thing properly

A man's not a man unless he knows how to shoot

These beasts invade our shores, and now this

[Line 450]: This wound is strange to me

We will fight this enemy, but we cannot do it alone

Kocoum, send messengers to every village in our nation

We will call on our brothers to help us fight

These white men are dangerous!

No one is to go near them

So what river is this?

[Line 460]: You have the most unusual names here

You have the most unusual name, too

Hey! Is this bottomless pit a friend of yours?

Well, how do you do, Meeko?

It's all right It's just a handshake

Here, let me show you

No, no I need your hand first

It's how we say hello

This is how we say hello Winggapo

And how we say goodbye Anah

But I'm not a stranger any more

[Line 480]: Stubborn little fellow, isn't he?

Don't worry He can't hurt it

Hey! What are you doing?

No, it's all right He can keep it

It tells you how to find your way when you get lost

It's all right I'll get another in London

London? Is that your village?

Yes It's a very big village

It's got streets filled with carriages, bridges over the rivers, and buildings as tall as trees

I'd like to see those things

We're going to build them here

We'll show your people how to use this land properly

How to make the most of it

Make the most of it?

Yes We'll build roads and decent houses

You think that only because you don't know any better

Wait a minute Don't take it that

[Line 510]: Wait! There's so much we can teach you

We've improved the lives of savages all over the world

Not that you're a savage

Listen, that's not what I meant Let me explain

No I'm not letting you leave

[Line 520]: Savage is just a word, you know?

A term for people who are uncivilised

Well, when I say uncivilised, what I mean is

What you mean is not like you

You think I'm an ignorant savage

And you've been so many places

I guess it must be so

If the savage one is me

[Line 530]: How can there be so much that you don't know

You think you own whatever land you land on

The earth is just a dead thing you can claim

But I know every rock and tree and creature

Has a life, has a spirit, has a name

You think the only people who are people

Are the people who look and think like you

But if you walk the footsteps of a stranger

You'll learn things you never knew you never knew

[Line 540]: Have you ever heard the wolf cry to the blue corn moon?

Or ask the grinning bobcat why he grinned?

Can you sing with all the voices of the mountain?

Can you paint with all the colours of the wind?

Can you paint with all the colours of the wind?

Come run the hidden pine trails of the forest

Come taste the sun-sweet berries ofthe earth

Come roll in all the riches all around you

And for once, never wonder what they're worth

The rainstorm and the river are my brothers

[Line 550]: The heron and the otter are my friends

And we are all connected to each other

In a circle, in a hoop, that never ends

How high does the sycamore grow?

If you cut it down then you'll never know

And you'll never hear the wolf cry to the blue corn moon For whether we are white or copper-skinned

We need to sing with all the voices of the mountain

We need to paint with all the colours of the wind

You can own the earth, and still

[Line 560]: All you'll own is earth until

You can paint with all the colours of the wind

The drums They mean trouble

I want to see you again

[Line 570]: All right! This one's ready to hoist!

Two on each side Ready now? Push!

Come on, lads, it's only a little picket fence

That'll keep everything out, eh, John?

You've been quiet the last few days

[Line 580]: He's mad he missed all the action

Don't worry, John You'll get your chance to deal with the Indians

Yeah We'll take care of them, like we did last time, eh, mates?

We shot ourselves an injun

Or maybe two or three

All right, you howling nutter, get to work

Come on, Ben It's just a little fun

Sure! We're having loads of fun, right?

Look at us No gold, no food, while Ratcliffe sits up in his tent all day, happy as a clam

[Line 590]: I should be wallowing in riches by now, and I haven't found as much as a speck

Think Think! It's got to be around here somewhere

I've mined the forests and the hills and the swamps and nothing!

Why can't I find it? What am I overlooking?

Wiggins, why do you think those insolent heathens attacked us?

We invaded their land, cut down their trees and dug up their earth?

[Line 600]: It's the gold! They have it, and they don't want us to take it from them

Well, I'll just have to take it by force then, won't I?

You there! Where's Captain Smith?

Aye Your singing scared him off

Go get him, for heaven's sake!

What if we run into the Indians?

That's what guns are for

Now arm yourselves and get moving!

[Line 610]: You should be inside the village

We'll be all right

We're gathering food for when the warriors arrive

Now is not the time to be running off

When I see you wear that necklace, you look just like your mother

But she is still with us

Whenever the wind moves through the trees, I feel her presence

[Line 620]: Our people look to her for wisdom and strength

Someday, they will look to you as well

I would be honoured by that

You shouldn't be out here alone

All right, what is it?

Pocahontas, you can tell me I promise

[Line 630]: I won't tell anyone Pocahontas, look!

It's one of them! I'm going to get

What are you doing here?

I had to see you again

Pocahontas can't keep running off It's dangerous out there Tell her that She listens to you

And to think we came all this way just to dig it up for gold Gold?

[Line 650]: It comes out of the ground It's really valuable

Here, we have lots of it

No, no! Gold is this

There's nothing like that around here

All this way for nothing

Those boys are in for a big surprise

[Line 660]: Some of them might

Well, it's not like I have much of a home to go back to I've never really belonged anywhere

[Line 670]: Let it break upon you

Like a wave upon the sand

Pocahontas, that tree is talking to me

Then you should talk back

Don't be frightened, young man

My bark is worse than my bite

What do you say to a tree?

He has a good soul And he's handsome, too!

Smith! Smith, where are you, mate?

We can't let them see us

This place gives me the creeps Savages could be hiding anywhere

If you spot one, don't ask questions Just shoot

[Line 690]: Watch your feet, you big oaf!

It wasn't me! It was the tree

Of course! The tree just felt like lifting its roots

Let's get out of here

He's a big lad, he can take care of himself!

I'm glad you're on our side

There's still some snap in these old vines

I better get back before they send the whole camp after me

[Line 700]: When will I see you again?

Meet me tonight, right here

Well! I haven't had this much excitement in 200 years

What am I doing? I shouldn't be seeing him again

I mean, I want to see him again

Who wouldn't? I want to see him again

But, still, something inside is telling me it's the right thing

My dream? Do you think he's the one the spinning arrow was pointing to? The warriors are here

[Line 710]: Pocahontas, are you crazy? What were you doing with one of them?

Look at them! Now we have enough warriors to destroy those white demons! Now that we are joined by our brothers, we will defeat this enemy

Father, I need to speak with you

Not now, my daughter The council is gathering

We don't have to fight them There must be a better way

Sometimes our paths are chosen for us

[Line 720]: But maybe we should try talking to them

They do not want to talk

But if one of them did want to talk, you would listen to him, wouldn't you? Pocahontas

Of course I would, but it is not that simple

Nothing is simple any more

Oh, John! I could've killed you

Not aiming like that, you couldn't

[Line 730]: Keep both eyes open when you shoot You'll see twice as well

We were looking all over for you

Smith! Where have you been?

I was out scouting the terrain, sir

Excellent Then you must know the Indians' whereabouts

We'll need that information for the battle

We will eliminate these savages once and for all

No! You can't do that!

Look We don't have to fight them

John, what's gotten into you?

They're not savages They can help us

They know the land They know how to navigate the rivers

[Line 750]: It's better than hardtack and gruel, that's for sure

They don't want to feed us, you ninnies!

They want to kill us! All of us!

They've got our gold, and they'll do anything to keep it!

But there is no gold

And I suppose your little Indian friend told you this?

Lies Lies! All of it! Murderous thieves

[Line 760]: There's no room for their kind in civilised society

But this is their land!

This is my land! I make the laws here

And I say anyone who so much as looks at an Indian without killing him on sight will be tried for treason and hanged

I lied for you once, don't ask me to do it again

[Line 770]: You don't know him

If you go out there, you'll be turning your back on your own people

I'm trying to help my people

Pocahontas, please, you're my best friend

I don't want you to get hurt

Ratcliffe wouldn't take us halfway around the world for nothing

But what if Smith is right? What if there is no gold?

If you ask me, Ratcliffe's been lying to us since we left London

[Line 780]: Listen to you, you bunch of idiots

Those savages didn't attack us for nothing

If they do have the gold, I reckon we'll have to fight them

Not me I'm not risking my neck

Either too hot or too cold

I haven't been comfortable since we got here

[Line 790]: I want to know where he's sneaking off to

If you happen to see any Indians shoot them

And, Thomas, you've been a slipshod sailor and a poor excuse for a soldier

What's wrong? Is she all right?

[Line 800]: The earth is trembling, child What's happened?

Listen to me My men are planning to attack your people

You've got to warn them

Maybe it's not too late to stop this

You have to come with me and talk to my father

Pocahontas, talking isn't going to do any good

I already tried talking to my men but everything about this land has them spooked

[Line 810]: That's the strangest creature I've ever seen!

You see what I mean? Once two sides want to fight, nothing can stop them

Come here, both of you!

It's all right He's a friend

What are you doing? Meeko!

[Line 820]: What are you doing? Stop that!

It's enough to make your sap boil

Now then, there's something I want to show you Look!

So small at first, then look how they grow

But someone has to start them

They're not going to listen to us

Young man, sometimes the right path is not the easiest one

Only when the fighting stops can you be together

All right Let's go talk to your father

Pocahontas, it won't help! He was only

Thomas, get out of here! Get out of here!

Pocahontas was out in the woods

Kocoum went to find her and this white man attacked them

[Line 850]: Your weapons are strong, but now our anger is stronger

At sunrise, he'll be the first to die!

I told you to stay in the village

You have shamed your father!

I was only trying to help

Because of your foolishness, Kocoum is dead!

Kocoum was just coming to protect me

[Line 860]: Pocahontas I sent Kocoum after you

I thought I was doing the right thing

All this happened because of me

And now I'll never see John Smith again

[Line 870]: I've gotten out of worse scrapes than this

Can't think of any right now, but

It would've been better if we'd never met

None of this would've happened

I'd rather die tomorrow than live a hundred years without knowing you Pocahontas

No matter what happens to me, I'll always be with you Forever

[Line 880]: Help! Somebody help! Help!

Easy, lad What is it?

It's Smith! They got him!

They captured him! Dragged him off!

[Line 890]: How many were there?

I don't know At least a dozen

It's perfect, Wiggins! I couldn't have planned this better myself The gold is as good as mine

We've got to save him! He'd do the same for any of us

Thomas is right! We've got to do something

And so we shall I told you those savages couldn't be trusted Smith tried to befriend them, and look what they've done to him! But now I say it's time to rescue our courageous comrade

[Line 900]: At daybreak, we attack!

What can you expect from filthy little heathens?

Here's what you get when races are diverse

They're only good when dead

They're vermin as I said and worse

Drive them from our shore!

[Line 910]: Which means they must be evil

We must sound the drums of war

Now we sound the drums of war

This is what we feared

The pale face is a demon

The only thing they feel at all is greed

[Line 920]: I wonder if they even bleed

They're different from us

Which means they can't be trusted

We must sound the drums of war

First we deal with this one

[Line 930]: Then we sound the drums of war

Let's go get a few, men!

Now it's up to you, men!

Now we sound the drums of war

They're going to kill him at sunrise, Grandmother Willow

[Line 940]: You have to stop them

I was wrong, Grandmother Willow I followed the wrong path

It's the arrow from your dream!

I was right It was pointing to him!

[Line 950]: It's not too late, child!

Let the spirits of the earth guide you!

You know your path, child Now follow it!

This will be the day

This will be the morning

We will see them dying in the dust

I don't know what I can do

Still I know I've got to try

[Line 960]: Now we make them pay

Eagle, help my feet to fly

Mountain, help my heart be great

Spirits of the earth and sky

Please don't let it be too late

They're a bunch of filthy, stinking savages

What are we waiting for?

Destroy their evil race until there's not a trace left How loud are the drums of war?

Now we see what comes of trying to be chums

Is the death of all I love carried in the drumming of war

[Line 980]: If you kill him, you'll have to kill me too

This is where the path of hatred has brought us

This is the path I choose, Father

My daughter speaks with a wisdom beyond her years

We have all come here with anger in our hearts, but she comes with courage and understanding

From this day forward, if there is to be more killing, it will not start with me

Now is our chance! Fire!

They don't want to fight!

It's a trick, don't you see? Fire!

Fine! I'll settle this myself

He stepped right into it! It's his own fault!

Smith was right all along

We never should've listened to you

Unhand me, I say How dare you!

I'll see you all hanged for this!

And gag him as well!

[Line 1010]: Is he going to make it, Thomas?

The sooner he gets to England, the better

Let's hope the wind is with him

Is the ship ready yet?

Just loading the last bit of cargo

Untie me at once! I'll have your head for this! And he came so highly recommended

We'd better get you on board We'll lose the tide

[Line 1020]: No, not yet She said she'd be here

Going back is his only chance

He'll die if he stays here

It's from Grandmother Willow's bark

It'll help with the pain

What pain? I've had worse pain than this

Can't think of any right now, but

You are always welcome among our people

[Line 1030]: Thank you, my brother

I thought you didn't like strangers

You must choose your own path

Then I'll stay with you.