Beijing’s Bland Battlefield

The recent success of “Once Upon a Time in the Middle East” has set tongues wagging about China’s soft power ambitions. This film, like its predecessors, is part of Beijing’s ongoing campaign to promote a carefully curated version of reality abroad.

While it’s easy to dismiss this as mere propaganda, the real significance of “Once Upon a Time” lies not in its explicitly stated message but in what it subtly conveys about China’s worldview. By reframing the Iraq war through the eyes of a Chinese chef who inadvertently becomes a protector of orphans and American soldiers alike, the film presents a remarkably sanitized view of history.

This approach is part of a broader pattern of Beijing’s attempts to rebrand itself as a benevolent global player. State media has long promoted China’s involvement in international development initiatives, humanitarian aid efforts, and peacekeeping missions as evidence of its commitment to global harmony. The message is clear: China wants the world to see it not just as an economic powerhouse but also as a force for good.

The film’s central character, Xu Fu, embodies this carefully crafted image. A Chinese chef who runs a modest restaurant in Iraq during the war, he becomes an unwitting hero by providing shelter and support to both American soldiers and local orphans. This narrative arc speaks volumes about China’s preferred self-portrait.

In stark contrast, the real-life experiences of those caught up in the Iraq war paint a vastly different picture. The trauma, suffering, and loss inflicted on civilians during this conflict are well-documented. But “Once Upon a Time” sidesteps these complexities, instead focusing on the humanizing tale of Xu Fu’s restaurant as a sanctuary.

The film’s success at the box office – it has already passed 1 billion yuan (US$148 million) – underscores China’s growing influence in global entertainment. This is not just about cultural exchange; it’s also part of Beijing’s strategic efforts to shape public opinion and promote its interests abroad.

So what does this say about Chinese views of the world? It suggests a desire to present itself as a benevolent actor on the global stage, but beneath this surface lies a more nuanced reality – one that highlights China’s own complex relationship with war, power, and international influence. Beijing’s soft power initiatives often blur the line between cultural exchange and propaganda.

As Beijing continues to promote its interests through film, it will be interesting to observe how it chooses to balance its desire for global influence with the need for authenticity. Can it present itself as a force for good without sacrificing its own cultural identity and historical complexities? The success or failure of these initiatives will depend on China’s ability to navigate this delicate balance.

Ultimately, Beijing’s cinematic efforts are just the beginning of a much larger conversation about its place in the world. As China continues to grow in influence, it must confront the complexities of its own history and culture – rather than relying on sanitized narratives designed to appeal to global audiences.