By Evelyn Alsultany
After Sep 11, there has been a rise in either the prevalence of hate crimes and executive guidelines that exact 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” throughout the battle on Terror.
Evelyn Alsultany explains new common in racial and cultural representations emerged out of the multicultural flow of the Nineties that consists of balancing a adverse 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 encompasses a “positive” illustration of an Arab, Muslim, Arab American, or Muslim American to offset the aptitude stereotype. studying how television dramas comparable to West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell, news-reporting, and non-profit advertisements have represented Arabs, Muslims, Arab american citizens, and Muslim american citizens through the conflict on Terror, this publication demonstrates how extra various representations don't in themselves remedy the matter of racial stereotyping and the way even possible confident photos can produce meanings that may justify exclusion and inequality.
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Additional info for Arabs and Muslims in the Media: Race and Representation after 9/11
Is down right stupid. 35 This Internet poster, Isebella, discusses Sleeper Cell as if there is no distinction between the show and the War on Terror itself. The people she refers to as terrorists living among us, nannies and teachers, are the covers of two of the show’s characters. Such elisions between televised fiction and historical reality are common across fan forums. Statements like these are perhaps the greatest possible compliment for a show like Sleeper Cell, whose claim to artistic significance draws primarily on its urgent declarations of its authenticity.
They are fragments of larger sentiments, operating like eavesdropping into conversations for which the larger context is absent. Juana Maria Rodriguez refers to online exchanges as “textual performances: fleeting, transient, ephemeral, already post. ”39 After being immersed in the often rabid and frequently misspelled rantings on Internet fan message boards, it is tempting to conclude that these posters are a very small subsection of the United States and that they certainly do not represent a mainstream perspective.
44 Some viewers experience and make sense of the War on Terror through its simulation. As Susan Willis writes: America lives its history as a cultural production. The post-9/11 era, as one defined by individual uncertainty in the face of an over-certain but often mistaken and repressive state, has seen a tremendous burgeoning of cultural forms meant to explain and manage the crisis. 45 The fictional dramas and news dramas examined in this book are cultural forms that participate in explaining and managing the War on Terror.
Arabs and Muslims in the Media: Race and Representation after 9/11 by Evelyn Alsultany