Their travels resulted in many popular books, articles, public lectures, and even serialized travel letters. The quest for trade and empire, the rise of the missionary movement, and curiosity about the exotic, all induced a growing number of venturesome spirits to seek out acquaintance with the countries and the peoples of the Muslim East. The study offers, in practical terms, a few ‘signs of spectacular resistance,’ whereby the camera is reversed to position the Moroccan woman in sequences of privilege and power.For the interpretation of the Arab-Muslim Middle East in the United States of the nineteenth and early twentieth century, nothing was more vital than the traveler. Although a number of stereotypical clichés have been developed from within America’s biggest imagemaking machine, the screen still offers valid ground for the (re)construction and retrieval of a native agency and genuine scope for native resistance. The paper proposes to analyze, deconstruct and illustrate some of Hollywood’s poetics and strategies in the cultural (mis)representation of Moroccan women. Relevant scenes from this movie display how Morocco and Moroccan subjects were subjected to a distinctively American characterization. This paper explores and examines the dynamic negotiation and the interchangeable interplay of gender, colonialist enterprise and Orientalist ideology in one of Hollywood’s early films: Robert Florey’s Outpost in Morocco (1949). The period between 19 witnessed considerable visual production on Morocco, which constituted not only a fertile haven but also a little story of Hollywood’s Orient. The shift from textual to visual narratives did little to dismantle the imperialistic and Orientalist politics of cultural representation.

Western travel writers drew on generic conventions centered on wonder and the fantastic to fashion stories about the ‘other side’ of the world in which the West was positioned as morally and culturally superior to the East. The link between the American cinema and Morocco was established during the early twentieth century when North Africa became a central concern of both Europe and America.

In Morocco by Edith Wharton