Reel Bad Arabs How Hollywood Vilifies a People by Jack Shaheen (New York: Olive Branch Press, 2001. 574 pages.)

Abstract

When it comes to Arab characters in movies, Hollywood has only one kind:
Bad Arabs. So argues Jack Shaheen, professor emeritus of mass communica­
tions at Southern Illinois University and a fonner CBS News consultant on
Middle East affairs in his new book,Reel Bad Arabs: How Hollywood Vilifies
a People.
In this groundbreaking study, Shaheen provides long-awaited evidence
that since "cameras started cranking to the present," Hollywood, for more
than a century, has targeted Arabs. It has portrayed them, knowingly or
unknowingly, as "uncivilized religious fanatics and money-mad cultural
·others'." He convincingly makes the case that filmmakers must not be pardoned
for distorting and sacrificing the truth under the false pretext of artistic
license.
The book is divided into two main parts. Most important, perhaps, is the
introduction. The second part reviews films from A to Z. The book contains
notes, appendices, a glossary, an index of films, and lists and discusses, in
alphabetical order, more than 900 feature films containing Arab characters.
The overwhelming majority of them, such as Prisoner in the Middle East,
Wanted Dead or Alive, The Delta Force, and EYecutive Decision negatively
stereotype Arabs. Only a handful of scenarios that surfaced in the 1980s and
1990s featured Arab characters as heroes. The Lion of the Desert and The
13"' Warrior come to mind.
Shaheen eloquently describes the links between the ability to create fictional
narratives and images and the power to fonn social attitudes, shape
thoughts and beliefs, and construct prisms through which people view the
world, themselves, and other peoples. Over time and through repetition, these
stereotypes become self-perpetuating, enduring, and hard to eliminate.
Part One consists of 12 sections, which enables the reader to navigate
easily what otherwise could have been complicated issues and concepts.
The first section, "The Genesis," discusses the negative stereotyping of
Arabs in American pop culture. After this, he introduces "Real Arabs" as
he has known them: his family, friends and colleagues, and people he has
met and experienced throughout his life. Another part, "The Stereotype's
Entry," deals with how stereotypical Arab images entered American pop­
ular culture. Here he argues that American image-makers did not invent ...