Reel Bad Arabs | |
---|---|
Directed by | Sut Jhally |
Written by | Jack Shaheen, Jeremy Earp |
Produced by | Jeremy Earp |
Starring | Jack Shaheen |
Edited by | Sut Jhally, Andrew Killoy, Mary Patierno |
Music by | Simon Shaheen |
Release date |
|
Running time | 50 minutes |
Country | United States |
Language | English |
Reel Bad Arabs: How Hollywood Vilifies a People is a documentary film directed by Sut Jhally and produced by Media Education Foundation in 2006. This film is an extension of the book of the same name by Jack Shaheen, which also analyzes how Hollywood corrupts or manipulates the image of Arabs. The documentary analyzes 1,000 films that have Arab and Muslim characters, produced between 1896 and 2000, out of which great majority, 936 titles, were negative in their portrayal, arguing that the slander of Arabs in American filmmaking has existed since the early days of the silent cinema and is present in the biggest Hollywood blockbusters today. Jack Shaheen analyzes a long series of "demeaning" images of Arabs through his presentation of various scenes from different American movies which he has studied. He argues that this image is characterized by showing Arabs either as bandits or as a savage, nomadic race, or shows Arab women as shallow belly dancers serving evil, naïve, and greedy Arab sheiks. Most important is the image of the rifle in the hands of Arab "terrorists". The film then attempts to explain the motivations behind these stereotypes about Arabs, and their development at key points in American history, as well as why it is so important today. [1]
The film showed for the first time in Washington on 8 June 2007 and then in Los Angeles in the 20 June 2007. The run time of the film is 50 minutes, with Arabic and English subtitles. Soon afterward, the film was shown successively in more than a dozen of international film festivals between 2006 and 2009 [2] [3] The film's estimated budget is $100,000. [4]
Shaheen speaks at the beginning of the documentary about the extent to which Arabs face slander and manipulation in Hollywood, commenting that he has formulated that view of his after having seen over a thousand films produced, in the past and in the present. He also talks about how bleak the views are, those of which are borne by the Western civilization (and he refers to it as our civilization), admittedly confessing how the views directly attack the Arabs' humanity. Furthermore, he mentions how the same image took shape in several patterns to feed the same substance that is continuously demonizing the Arabs, thus. The image had to repeat over and over and was depicted in scenes in several films that heavily abuse the Arabs' behaviors and morals.
All through the documentary, Shaheen's statements are illustrated by clips from the films he describes.
Shaheen reviews some of the images about Arabs he perceives as distorted, and argues this causes a process of feeding/poisoning the minds of the younger generations with these infected ideas about Arabs that characterizes them with such heinous and harmful descriptions as in the Disney motion picture, Aladdin . Shaheen also turns it around: what must viewers from the Arab world think of America and Americans when they keep seeing these images in American films?
Shaheen also argues that the image of the Arab woman is distorted and does not represent her. Arab women in films are either belly dancers or faceless, anonymous shapes in black robes. More recently Arab women are also portrayed as terrorists. The truth is, they are just like all other women in the world: talented, intelligent, and equal in all areas and fields.
Shaheen then argues that politics have a big role in affecting Hollywood's image about Arabs, and moreover, both Hollywood and politics feed and empower the other. He stresses that filmmakers openly acknowledge this interaction between Hollywood and American politics by citing Jack Valenti, longtime president of the Motion Picture Association of America: "Washington and Hollywood spring from the same DNA". Political and economic events like the crisis of high oil prices in the United States as a result of the Arabs refusal of exporting it to The States, the revolution in Iran (a non-Arab country) as well as al-Qaeda activities, the events of 9/11 and others, all exported a bad, faded image about Arabs to every American home... It is a truly a very distorted picture. Both the book and the film to reveal the American film scene history, where they exposed a blatant pattern of profiling to stereotype the Arabs and they also showed the similarity of this stereotype with the racist, anti-Semitic caricature and cartoon art throughout history.
Alleging a political agenda, he says out of 1,000 films that have Arab and Muslim characters (from the year 1896 to 2000), 12 were positive depictions, 52 were neutral portrayals of Arabs, and 936 were negative.
Although the negative imagery of Arabs and the Arab world in the film is a hundred years old, Shaheen also voices optimism about the future. Showing some examples of films that portray Arabs as ordinary people, he expects the negative images to change, due to the works of a new generation of filmmakers, who see things differently.
Filmmaker information
The film festivals that showed the documentary are: [5]
Harum Scarum is a 1965 American musical comedy film starring Elvis Presley. It was shot on the original Cecil B. DeMille set from the film The King of Kings, with additional footage shot on location at the Iverson Movie Ranch in Chatsworth, Los Angeles. Some of the film was based on Rudolph Valentino's 1921 movie The Sheik.
Paradise is a 1982 Canadian adventure-romance film written and directed by Stuart Gillard. It stars Phoebe Cates, Willie Aames, and Tuvia Tavi. The original music score was composed by Paul Hoffert with the theme song written and produced by Joel Diamond and L. Russell Brown and sung by Phoebe Cates.
The concept of imagined geographies originated from Edward Said, particularly his work on critique on Orientalism. Imagined geographies refers to the perception of a space created through certain imagery, texts, and/or discourses. For Said, imagined does not mean to be false or made-up, but rather is used synonymous with perceived. Despite often being constructed on a national level, imagined geographies also occur domestically in nations and locally within regions, cities, etc.
The Three Musketeers is a 1933 American pre-Code film serial directed by Armand Schaeffer and Colbert Clark, and produced by Nat Levine for Mascot Pictures. The film serial was very loosely based on Alexandre Dumas' 1844 novel The Three Musketeers, with the musketeers changed into three soldiers in the French Foreign Legion, and d'Artagnan being reconfigured as Lt. Tom Wayne, a pilot in the United States military.
Stereotypes of Arabs and Muslims in the United States have been presented in various forms by the mass media in American culture. Stereotypical representations of Arabs are often manifested in a society's media, literature, theater and other creative expressions. In Hollywood, some films been praised for their positive portrayal of Arabs and Muslims. Arab actors who have become stars in Hollywood include Omar Sharif, who has been described as "the first Egyptian and Arab to conquer Hollywood". Most representations, however, have been negative, having adverse repercussions for some Arab Americans and Muslims in daily interactions and in current events. In American textbooks, which theoretically should be less-creative expressions, similar negative and inaccurate stereotypes are also found for Arabs and Muslims.
Peace, Propaganda & the Promised Land is a 2004 American documentary film directed by Sut Jhally and Bathsheba Ratzkoff which—according to the film's official website—"provides a striking comparison of U.S. and international media coverage of the crisis in the Middle East, zeroing in on how structural distortions in U.S. coverage have reinforced false perceptions of the Israeli–Palestinian conflict" and which "analyzes and explains how—through the use of language, framing and context—the Israeli occupation of the West Bank and Gaza remains hidden in the news media". The film argues that the influence of pro-Israel media watchdog groups, such as CAMERA and Honest Reporting, has led to distorted and pro-Israel media reports. It features Noam Chomsky, Robert Jensen, Hanan Ashrawi, Sam Husseini, and Robert Fisk, among others.
Jack George Shaheen Jr. was an American writer and lecturer specializing in addressing racial and ethnic stereotypes. He authored Reel Bad Arabs, The TV Arab (1984) and Arab and Muslim Stereotyping in American Popular Culture (1997).
Sut Jhally is a professor of communication at the University of Massachusetts Amherst, whose work focuses on cultural studies, advertising, media, and consumption. He is the producer of more than 40 documentaries on media literacy topics and the founder and executive director of the Media Education Foundation.
Bathsheba Ratzkoff is a film director, producer, and editor.
Jacqueline Reem Salloum is an artist and filmmaker of Palestinian and Syrian descent. Her multi-media based artwork focuses on documenting histories and memories of people, including her family, that have been fragmented by displacement and exile. Salloum’s film work includes experimental video pieces like Planet of the Arabs, which screened at the Sundance Film Festival. She directed the award winning feature documentary on the Palestinian Hip Hop scene, Slingshot Hip Hop, which premiered at the Sundance film festival. Salloum’s art and video work have been exhibited in solo and group shows in the US and internationally including, Mori Art Museum, Japan; Reina Sofia, Spain; Museum of Contemporary Art Taipei, Taiwan; Institute of Contemporary Arts, London; Palazzo Papesse Centre for Contemporary Art, Sienna, Italy, Wallspace Gallery, New York and Void Gallery, Ireland as well as film festivals; IDFA, New Directors New Films, Tiff kids, DoxBox Syria and Beirut International Film Festival.
Reel Injun is a 2009 Canadian documentary film directed by Cree filmmaker Neil Diamond, Catherine Bainbridge, and Jeremiah Hayes that explores the portrayal of Native Americans in film. Reel Injun is illustrated with excerpts from classic and contemporary portrayals of Native people in Hollywood movies and interviews with filmmakers, actors and film historians, while director Diamond travels across the United States to visit iconic locations in motion picture as well as American Indian history.
Racism in early American film is the negative depiction of racial groups, racial stereotypes, and racist ideals in classical Hollywood cinema from the 1910s to the 1960s.
Killing Us Softly is an American documentary series by Jean Kilbourne, produced and distributed by the Media Education Foundation. First released in 1979 and since revised and updated three times, most recently in 2010, it focuses on images of women in advertising; in particular on gender stereotypes, the effects of advertising on women's self-image, and the objectification of women's bodies.
The Arab Film Festival (AFF) is the flagship program of the Arab Film and Media Institute (AFMI) a nonprofit organization that hosts the largest and longest-running independent Arab film festival in the United States. It is held in California each year in San Francisco, Los Angeles, San Jose, San Diego, and Berkeley.
The Palace of the Arabian Nights is a 1905 silent fantasy film directed by Georges Méliès. The film, inspired by the One Thousand and One Nights, follows the adventures of a prince whose bravery and devotion are tested in a magical quest to win the hand of his beloved.
Desert Thunder is a 1998 action film, It uses stock footage from Iron Eagle and Navy Seals.
1001 Nights, also known as Sharaz or La esclava del paraíso, is a 1968 film directed by José María Elorrieta and starring Raf Vallone and Luciana Paluzzi.
Steel Sharks is a 1997 American direct-to-video action film directed by Rodney McDonald and starring Gary Busey, Billy Dee Williams and Billy Warlock. It concerns a group of Navy SEALs who are captured and taken aboard an Iranian submarine from which they must escape to survive. The film was released straight-to-video. Several scenes involving Navy helicopter, ship, and command footage from this film were used in the production of Crash Dive, Freedom Strike, Counter Measures and Agent Red.
Arabs are portrayed in film as film characters in both Arab films as well as non-Arab films, and both Arabs and non-Arabs take the role of an Arab. These portrayals often depict an ethnocentric perception of Arabs rather than an authentic and realistic depiction of Arabic cultures, religions, dialects, as well as customs and traditions. Common characteristics that are implemented in the role of Arab characters include speaking in a heavy accent, being hostile and vicious, and are in the context of terrorism. Key issues that have been explored in these portrayals include how Arabs are identified in mainstream Hollywood film, how Arabs self-represent themselves in their own film, with examples from Egyptian cinema, Palestinian cinema, as well as Syrian cinema. This article will also cover the emphasis on Islamophobia and its impacts on film. There has also been the portrayal of Arab women in film, the portrayal of Arabs post 9/11, the portrayal of Arabs in silent film, and positive portrayals and negative portrayals of Arabs. Lastly, the United States efforts to avoid the stereotyping of Muslims/Arabs and shifting the focus onto a positive outlook.
Desert of Fire is a 1971 Italian adventure film directed by Renzo Merusi and starring Edwige Fenech, George Wang and Giuseppe Addobbati. The filming locations is in Tunisia.