Constructing the Savage: Imaginative Geography, Orientalist Binaries, and the Civilizing Mission in Mufasa: The Lion King (2024) Film

Authors

  • Ben Othniel Supriadi MAKARIOS CHRISTIAN SCHOOL
  • Gabrielle Angela Chang MAKARIOS CHRISTIAN SCHOOL
  • Regine Juliana Leonora Hutahayan MAKARIOS CHRISTIAN SCHOOL
  • Abednego Rick Riven MAKARIOS CHRISTIAN SCHOOL
  • Gabrielle Josephine Daliz MAKARIOS CHRISTIAN SCHOOL

Keywords:

Orientalism, Latent Orientalism, Imaginative Geography, Mufasa

Abstract

The paper examines Mufasa: The Lion King (2024) through the lens of Edward Said’s postcolonial theory of Orientalism (1978). focusing on the film reproduces Orientalist binaries of “civilized” versus “savage” through the portrayal of Mufasa against Kiros and the white lion pride. Using a qualitative approach, this study conducts a close analysis of selected dialogue and cinematography to explore stereotypes, colonial hierarchy and imaginative geography. As a result, 1) the binary opposition between “civilization” and “savagery” is a constructed divide where Mufasa’s desire for land is framed as destiny, while Kiros’s identical desire is framed as barbarism. 2) The film's landscape is divided into morally charged spaces, where Milele is depicted as sacred and deserving of order, while the spaces associated with Kiros are framed as cold, chaotic, and illegitimate. 3) The film’s deepest ideological operation work through Orientalism, hiding colonial hierarchy inside emotionally warm and visually beautiful moments such as “we are all one”, where unity appears inclusive but ultimately depends on Mufasa’s singular authority. Understanding how the film frames the civilized-savage divide, imaginative geography and latent Orientalism helps the audience recognize how colonial ideologies are recycled within mainstream family entertainment. Future researchers can expand this inquiry into other Disney productions set in non-western environments to examine how animated storytelling continues to shape global perception of identity, power, and belonging. 

References

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Jenkins, B. (Director). (2024). Mufasa: The lion king [Film]. Walt Disney Pictures; Walt Disney Studios Motion Pictures.

Kashaka, N. D. (2025). Cinematic techniques: Shaping viewer perception and emotion. Research Invention Journal of Current Issues in Arts and Management, 4(2), 28–33. https://doi.org/10.59298/rijciam/2025/422833

Said, E. W. (1978). Orientalism. Pantheon Books.

United Nations General Assembly. (2022). Contemporary forms of racism, racial discrimination, xenophobia and related intolerance (Report No. A/77/512).

Widyasari, N. M. N., & Sulatra, I. K. (2025). Exploring types of language functions in Mufasa from The Lion King Movie. IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature, 13(2). https://doi.org/10.24256/ideas.v13i2.7832d Learning, Linguistics and Literature, 13(2). https://doi.org/10.24256/ideas.v13i2.7832

The Holy Bible: New International Version. (2011). Bible Gateway. https://www.biblegateway.com/

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Published

2026-08-31

How to Cite

Supriadi, B. O., Chang, G. A., Hutahayan, R. J. L., Riven, A. R., & Daliz, G. J. (2026). Constructing the Savage: Imaginative Geography, Orientalist Binaries, and the Civilizing Mission in Mufasa: The Lion King (2024) Film. Boanerges: Makarios Education Journal, 4(1), 67–79. Retrieved from https://streamfly.tech/index.php/boanerges/article/view/59

Issue

Vol. 4 No. 1 (2026): BOANERGES

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