This weekend, Britain witnessed riots across the country fuelled by hate, racism, and Islamophobia in response to misinformation about the tragic stabbing of three young girls. Fires were set in hotels and mosques, and physical and verbal violence erupted in cities and towns, resulting in nearly 400 arrests. This is not new: the Paris Olympics 2024 have banned hijabs in competitions, and the ongoing Israeli-Palestinian conflict persists. In a society captivated by screens, let’s examine how Arabs and Muslims are portrayed in Hollywood.
"Arabface" refers to the creation and dissemination of racist Arab stereotypes and caricatures, often through casting white actors to play Arab roles. The term "Arab" is used broadly to describe people from the Middle East, a region with diverse countries, cultures, beliefs, and religions. This simplification often leads to stereotyping and misrepresentation.
Since the events of 9/11, Arab men have been predominantly depicted negatively as villains, tyrants, and terrorists. Historically, they were portrayed as savages or aggressors, a view rooted in barbaric stereotypes from the Crusades. Despite the diversity within the Arab American community, media often represents them primarily as Muslims. However, most Arab Americans identify as Christian, and only 12% of the world’s Muslim population is Arab, according to PBS. Moreover, Arabs are frequently shown as foreigners in film and television. For instance, the Indiana Jones (Steven Spielberg, 1981) sequel depicts Arabs in stereotypical roles.
The Sheik is often shown with long flowing robes, a beard, sunglasses, and an exaggerated display of wealth, driving a giant SUV. The Bedouin is reduced to a nomadic desert dweller on a camel. The Terrorist is portrayed as a fanatical individual willing to sacrifice their life to harm innocents, driven by the misguided belief in 79 virgins in heaven. Market sellers are unfairly depicted as hagglers demanding exorbitant prices but quickly relenting when resisted.
These stereotypes oversimplify and misrepresent the complex realities of the Middle East. Traits such as heavy accents, perceived hostility, and viciousness are often linked to terrorism. This misrepresentation can lead to tokenism, marginalization, and the broader issues of Orientalism and otherization.
These distortions intertwine with Islamophobia, resulting in real-world consequences like violence against Muslims, particularly in American and British contexts. This anxiety is fuelled by negative media portrayals of Arabs.
Arab women have been portrayed in Hollywood films since the 1960s as belly dancers or veiled figures in midriff-revealing outfits and adorned with jewelry, contributing to their sexual objectification as exotic beauties. Films like Aladdin (Ron Clements and John Musker, 1992) and The Spy Who Loved Me (Lewis Gilbert, 1977) exemplify this trend.
Moreover, Arab women are often depicted as oppressed housewives or submissive figures, frequently shown wearing the burka—a garment misrepresented as a means to prevent men from being excited by even a wrist or ankle. Recent productions like Elite (2018-) and Hala (Minhal Baig, 2019) offer a more nuanced view, portraying Muslim women challenging traditional norms for autonomy and agency.
Another recurring Hollywood image is that of the maiden—beautiful princesses in veils, surrounded by female attendants and guarded by eunuchs.
The Middle East is frequently symbolized by traditional icons such as camels and deserts, which oversimplify the region and imply primitiveness. This view overlooks the region's complexity, including its rich natural resources, like oil and gas, which play a critical economic role. Western countries form economic ties and partnerships with the Middle East due to these resources.
Additionally, the Middle East is a dynamic hub for emerging power centers that attract Western immigrants seeking opportunities. This broader perspective challenges simplistic media portrayals and highlights the region’s multifaceted nature.
In today’s age of diversity and inclusion, issues of representation persist. Arabs and Muslims can be portrayed as billionaires or as victims of yellowface and blackface—makeup practices that imitate Asian or Black individuals, respectively. In 2019, Hollywood saw Rami Malek become the first Arab American Best Actor award winner for Bohemian Rhapsody, and Mena Massoud, an Egyptian-born actor, starred in Aladdin.
Such portrayals often reflect an ethnocentric view, distorting Arabic cultures, religions, dialects, customs, and traditions. These generalizations perpetuate misconceptions, such as the idea that all Arabs are Muslims and all Muslims are terrorists. Such stereotypes fail to capture the diversity within these communities and undermine their significant contributions.
Through repetition, stereotypes formalize simplistic portrayals of identity. Representation shapes societal perceptions, and a more authentic and nuanced portrayal is crucial for fostering inclusivity, diversity, and equity. By dismantling stereotypes, we create a space that empowers individuals, cultivates empathy, and contributes to social progress. Authentic representation helps normalize the experiences of various communities, such as the Arab experience, offering narratives with genuine humanity.
Ultimately, authentic representation connects with audiences and fosters a deeper understanding of our shared humanity.
While Hollywood is a significant player in the film industry, it is not the sole contributor. International cinemas, like Palestinian cinema, offer powerful narratives. For example, Divine Intervention (Elia Suleiman, 2002) faced rejection from the Academy of Motion Picture Arts and Sciences for Best Foreign Language Film, possibly due to the perception that Palestine is not a legitimate nation. The film portrays Palestinians living under Israeli occupation, with its main character remaining silent to symbolize the draining impact of life under occupation. This contrasts with Hollywood’s narratives by presenting Arabs as everyday heroes in a realistic context.
A few noteworthy exceptions in mainstream media include Ramy Hassan, portrayed by Ramy Youssef in Ramy (2019-), offering a nuanced depiction of an average Arab Muslim American; Special Agent Fatima Namazi, played by Medalion Rahimi in NCIS: Los Angeles (2009-2023), who is visibly Muslim but not defined solely by her religion; Elliot Alderson, portrayed by Rami Malek in Mr. Robot (2015-2019), as a racially ambiguous cybersecurity engineer; Nadine Marissa in The Walking Dead (2010-2022), a hijab-wearing Muslim character; and Aldena El-Amin in The Bold Type (2017-2021), representing a complex character as a lesbian, Muslim, and feminist.
With the rise of streaming services like Netflix and Hulu, filmmakers from diverse backgrounds are gaining opportunities to tell their own stories. Arabs, being the second-largest religion in the UK and with a global diaspora, deserve accurate and diverse representation.
In conclusion, while there have been positive strides in the representation of Arabs and Muslims, significant issues remain. Stereotypes and oversimplified portrayals continue to influence public perception and contribute to biases and discrimination. By promoting authentic and nuanced representations, we can foster greater understanding and inclusivity. The work of international cinemas and recent positive portrayals in mainstream media provide hopeful examples of how to move beyond outdated stereotypes. Ensuring diverse and accurate representations is essential for reflecting the true complexity and richness of these communities. After all, they are the citizens of paper—mere numbers in statistics, subjects who do not matter in news headlines, ghosts “haunting” British-American culture.
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