Reel bad Arabs: how Hollywood vilifies a people

Abstract

Reel Bad Arabs - How Hollywood Vilifies a People (2006) Directed by Sut Jhally Distributed by Media Education Foundation www . Mediaed . org Run time: 50 minutes Based on his book of same name, author Dr. Jack G. Shaheen's documentary, Reel Bad Arabs: How Hollywood Vilifies a People, lays claim to an examination of virtually every feature that Hollywood has ever made containing an appearance by an Arab or a depiction of what he calls Arabland: non- specified Middle Eastern setting filled with all tools from Ali Baba Kit (veiled women, sheiks, desert, belly dancers, terrorists, etc. - all stereotypes associated with the Arab). Shaheen, professor of Mass Communication at Southern Illinois University, is no newcomer to politics of representation. A former consultant on Middle Eastern affairs for CBS news, he won Janet Lee Stevens Award from University of Pennsylvania for his outstanding contribution towards a better understanding of our global community as well as being presented with a Lifetime Achievement Award by American-Arab Anti- Discrimination Committee. Shaheen draws on this extensive background for film, situating himself as an authority by intercutting his own commentary with Hollywood's most offensive scenes aimed to vilify Arabs. Beginning in silent era, with films such as Arabia, then moving on to successive key periods in film history - classical Hollywood period (Samson against Sheik, 1962; Invitation to Dance, 1956); action flicks of 1980s (Cannonball Run 2, 1984; Back to Future, 1985; Network, 1984); films of 1990s, (True Lies, 1994; Aladdin, 1992) and finally, 2000 and post-9/11 era (Rules of Engagement, 2000; Syriana, 2005) - he sets up an impressive framework to clarify hostility towards Arab characters, not only throughout film history but also in prevailing times. Shaheen's film argues that visual vilification of Arab people has been going on for more than a century, starting with early European depictions of Orient in art and increasing in visual media after World War II with founding of state of Israel, Arab oil embargo of 1970s, and Iranian Revolution. The documentary successfully illustrates racism inherent in blockbuster cinema, by using popular filmic examples to ensure film's premise resonates with its audience. According to Shaheen, Hollywood injects evil Arabs and slurs demeaning them in films that have nothing to do with Middle East. As an extensive example he discusses Father of Bride II (1995), in which Mr. Habib is manifestation of money-greedy, sleazy Arab caricature who yells at his wife in gibberish whenever she attempts to speak up. Another fixed stereotype Shaheen criticizes is oversexed Arab buffoon who is obsessed with American women that we find in films such as Happy Hooker goes to Washington or Jamie Farr's character in Cannonball Run 11 (I have a weakness for blondes and women without mustaches.) Interestingly, toward end of documentary Shaheen suggests that Arab comedians, such as ArabAmerican Ahmed Ahmed, may be one solution to problem, through their use of humor to reveal and therefore end prejudices. Such self-deprecating humor, for Shaheen, can serve to both counteract stereotypes and neutralize social power inherent in prejudicial humor of others. The film is subdivided into several chapters such as: Myths of Arabland; The Arab Threat: Mideast Politics & Hollywood; Terror Inc. Demonizing Palestinians & Muslims; Islamophobia; and Getting Real. In this way, audiences unfamiliar with visual media studies, or history of U.S. international relations, receive an introduction into highly controversial historical relationship between U.S. and Middle East. According to Shaheen, cinema, as a vehicle which fosters stereotype of evil Arab, is fueled by exhausting repetition of same images on screen. …