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By Evelyn Alsultany

After 9-11, there has been a rise in either the prevalence of hate crimes and executive rules that specified 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 photos of “the enemy” in the course of the battle on Terror.


Evelyn Alsultany explains new typical in racial and cultural representations emerged out of the multicultural circulation of the Nineties that consists of balancing a unfavourable illustration with a favorable 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.  examining 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 in the course of the battle on Terror, this e-book demonstrates how extra assorted representations don't in themselves clear up the matter of racial stereotyping and the way even likely optimistic photographs can produce meanings that could justify exclusion and inequality.

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Additional resources for Arabs and Muslims in the Media: Race and Representation after 9/11

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Flipping the enemy demonstrates that terrorism is not an Arab or Muslim monopoly. 19 In contrast, post-9/11 terrorist characters are humanized in a variety of ways. We see them in a family context, as loving fathers and husbands; we come to learn their back stories and glimpse moments that have brought them to the precipice of terror. S. 3. Strategy 4, Flipping the Enemy. 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).

17 This emphasis on victimization and sympathy challenges long-standing representations that have inspired a lack of sympathy and even a sense of celebration when the Arab/Muslim character is killed. Strategy 3: Challenging the Arab/Muslim Conflation with Diverse Muslim Identities Sleeper Cell prides itself on being unique among TV dramas that deal with the topic of terrorism because of its diverse cast of Muslim terrorists. It challenges the common conflation of Arab and Muslim identities. While the ringleader of the cell, Faris al-Farik, is an Arab, the other members are not: they are Bosnian, French, Euro-American, Western European, and Latino; one character is a gay Iraqi Brit.

S. national security. Political liberals, or those on the left, tend to acknowledge Sleeper Cell’s attempt to offer alternative representations of Muslims but nevertheless criticize it for being pedantic. Both sets of responses demonstrate the limited impact of these representational strategies and how—despite their efforts at complexity—they devolve toward a problematic simplicity. The conservative writer Dorothy Rabinowitz, in her review for the Wall Street Journal, states: SHOWTIME’S Sleeper Cell won’t make viewers particularly happy, its intention being, evidently, to teach rather than to delight—a worthy enterprise in this case, and one, it turns out that’s also highly compelling most of the time.

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