If we take Hana as a first example we might simply say that she is a canadian nurse aiding injured soldiers during the second world war.
This statement can be referred to as social identity – it is the way Hana behaves within society.
Hana, a nurse during the war, goes through the devastating loss of her father, Patrick, who dies in the war.
Hana then commits her life to helping a burnt, disfigured, and severely wounded man, referred to as the English patient.
Count Lazlo Almasy, the English Patient, is a man in an Imperial time and world.
The people in this world live by Imperial rules and perpetuate Imperial stereotypes.
Ella Shohat and Robert Stam, authors of Unthinking Eurocentrism, believe that the Imperial attitudes that the British government and the Western imperial society initiated, continue today and are alive in the cinema.
The film, “The This newfound technology of film was just another way for the empire to spread its ideas and power over the world; “…the culture of empire authorized the pleasure of seizing ephemeral glimpses of its ‘margins’ through travel and tourism” (102).
A young Canadian nurse, a Sikh bomb disposal expert, a thief turned spy, and a man burnt beyond recognition, meet in the last moments of the Second World War.
The identity of the patient is the heart of the story as he tells his memories of a doomed love affair in the North African desert.