By Evelyn Alsultany
After 9-11, there has been a rise in either the occurrence of hate crimes and govt rules that specific 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 photographs of “the enemy” in the course of the battle on Terror.
Evelyn Alsultany explains new normal in racial and cultural representations emerged out of the multicultural stream of the Nineties that comprises balancing a destructive illustration with a favorable one, what she refers to as “simplified advanced 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 features a “positive” illustration of an Arab, Muslim, Arab American, or Muslim American to offset the capability stereotype. interpreting how television dramas equivalent 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 american citizens, and Muslim american citizens throughout the battle on Terror, this booklet demonstrates how extra varied representations don't in themselves clear up the matter of racial stereotyping and the way even possible optimistic pictures can produce meanings that may justify exclusion and inequality.
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Extra info for Arabs and Muslims in the Media: Race and Representation after 9/11
These websites allow everyone and anyone to be a critic and to anonymously “talk back”— consistent with the new culture of viewer feedback initiated by major networks such as CNN, which has shifted its news format to invite and include viewer perspectives. Some viewer posts focus on whether 24 or Sleeper Cell is more entertaining; others discuss the “hotness” of the actors; still others say what they would like to see happen in the story line—who will fall in love, who will 33 Challenging the Terrorist Stereotype be avenged, and so on.
S. President Charles Logan, who conspires with the terrorists. television (in a recurring role for most of the season, as opposed to a one-time appearance). In their first scene they seem like an “ordinary” family—mother, father, and teenage son—preparing breakfast. It is soon revealed, however, that they are a sleeper cell; in the episodes that follow, each family member’s relationship to terrorism is explored. The father is willing to kill his wife and son in order to complete his mission; the mother reconsiders her involvement with terrorism only to protect her son; and the teenage son, raised in the United States, is portrayed with an evolving sense of humanity that ultimately prevents him from being a terrorist.
Foreign policies, it is uncommon for the context of such references to be adequately addressed. S. foreign policies remains abstract, since viewers don’t see the daily realities of those countries. S. S. sanctions are absent from the story line. This absence operates to ensure that any consideration of their violence as legitimate remains taboo. Thus while simplified complex representational strategies make concessions to complexity—giving voice to the grievances of terrorist characters, allowing us to see them in the context of their families—“their” violence remains incomprehensible, beyond reason, and in the service of hatred.
Arabs and Muslims in the Media: Race and Representation after 9/11 by Evelyn Alsultany