By Evelyn Alsultany
After Sept. 11, there has been a rise in either the prevalence of hate crimes and govt regulations that detailed Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims within the U.S. media. Arabs and Muslims within the Media examines this paradox and investigates the rise of sympathetic pictures of “the enemy” through the conflict on Terror.
Evelyn Alsultany explains new typical in racial and cultural representations emerged out of the multicultural stream of the Nineteen Nineties that consists of balancing a damaging illustration with a good one, what she refers to as “simplified complicated representations.” This has intended that if the storyline of a television drama or movie represents an Arab or Muslim as a terrorist, then the storyline additionally encompasses a “positive” illustration of an Arab, Muslim, Arab American, or Muslim American to offset the aptitude stereotype. reading how television dramas corresponding to West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell, news-reporting, and non-profit ads have represented Arabs, Muslims, Arab americans, and Muslim american citizens throughout the warfare on Terror, this booklet demonstrates how extra varied representations don't in themselves remedy the matter of racial stereotyping and the way even likely confident photos can produce meanings which may justify exclusion and inequality.
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Additional info for Arabs and Muslims in the Media: Race and Representation after 9/11
One of the keys to its success, at least as evidenced from the fan forums, is an apparent absence of pedagogy. It seems that viewers and critics alike criticize shows with an educational thrust. However, the “education” that is the focus of criticism is the diverse portrayals of Arab and Muslim identities, as opposed to the presumed “education” on the “reality” of the Arab/Muslim threat. Some viewers reject the paranoid message of Sleeper Cell. com (a division of CBS Interactive): More mindless neocon propaganda vomited onto our screens.
For example, in season 7 of 24, the African country “Sangala” is an important source of terrorism. Fictionalizing the country of the terrorist can give a show more latitude in creating salacious story lines that might be criticized if identified with an actual country. The seven representational strategies I have found are not exhaustive, nor are they all new to our post-9/11 world. Rather, these strategies collectively outline some of the ways in which writers and producers of television (and film) have sought to improve representations of Arabs (and other racial and ethnic groups).
40 Like many posters, Iverson laments the perceived “ignorance” of his fellow Americans. The pessimistic vision of his country, however, is less startling than the faith he has in fictional television: equivalent to news education, bettering our understanding of an entire religion and group of people. Michael Medved, film critic and conservative political commentator, also has faith in the power of television. S. exceptionalism. He is committed to a particular configuration of blame that maintains the United States as innocent and heroic and Arabs and Muslims as committing senseless violence, upholding the dominant “they hate us for our freedom” discourse.