PROSE Award- Media and Cultural Studies Finalist How diversity initiatives end up marginalizing Arab Americans and US Muslims One of Donald Trump’s first actions as President was to sign an executive order to limit Muslim immigration to the United States, a step toward the “complete shutdown of Muslims entering the United States” he had campaigned on. This extraordinary act of Islamophobia provoked unprecedented opposition: Hollywood movies and mainstream television shows began to feature more Muslim characters in contexts other than terrorism; universities and private businesses included Muslims in their diversity initiatives; and the criminal justice system took hate crimes against Muslims more seriously. Yet Broken argues that, even amid this challenge to institutionalized Islamophobia, diversity initiatives fail on their promise by only focusing on crisis moments. Evelyn Alsultany argues that Muslims get included through “crisis diversity,” where high-profile Islamophobic incidents are urgently responded to and then ignored until the next crisis. In the popular cultural arena of television, this means interrogating even those representations of Muslims that others have celebrated as refreshingly positive. What kind of message does it send, for example, when a growing number of “good Muslims” on TV seem to have arrived there, ironically, only after leaving the faith? In the realm of corporations, she critically examines the firing of high-profile individuals for anti-Muslim speech—a remedy that rebrands corporations as anti-racist while institutional racism remains intact. At universities, Muslim students get included in diversity, equity, and inclusion plans but that gets disrupted if they are involved in Palestinian rights activism. Finally, she turns to hate crime laws revealing how they fail to address root causes. In each of these arenas, Alsultany finds an institutional pattern that defangs the promise of Muslim inclusion, deferring systemic change until and through the next “crisis.”

After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of "the enemy" during the War on Terror. Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as "simplified complex representations." This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a "positive" representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.

PROSE Award- Media and Cultural Studies Finalist How diversity initiatives end up marginalizing Arab Americans and US Muslims One of Donald Trump’s first actions as President was to sign an executive order to limit Muslim immigration to the United States, a step toward the “complete shutdown of Muslims entering the United States” he had campaigned on. This extraordinary act of Islamophobia provoked unprecedented opposition: Hollywood movies and mainstream television shows began to feature more Muslim characters in contexts other than terrorism; universities and private businesses included Muslims in their diversity initiatives; and the criminal justice system took hate crimes against Muslims more seriously. Yet Broken argues that, even amid this challenge to institutionalized Islamophobia, diversity initiatives fail on their promise by only focusing on crisis moments. Evelyn Alsultany argues that Muslims get included through “crisis diversity,” where high-profile Islamophobic incidents are urgently responded to and then ignored until the next crisis. In the popular cultural arena of television, this means interrogating even those representations of Muslims that others have celebrated as refreshingly positive. What kind of message does it send, for example, when a growing number of “good Muslims” on TV seem to have arrived there, ironically, only after leaving the faith? In the realm of corporations, she critically examines the firing of high-profile individuals for anti-Muslim speech—a remedy that rebrands corporations as anti-racist while institutional racism remains intact. At universities, Muslim students get included in diversity, equity, and inclusion plans but that gets disrupted if they are involved in Palestinian rights activism. Finally, she turns to hate crime laws revealing how they fail to address root causes. In each of these arenas, Alsultany finds an institutional pattern that defangs the promise of Muslim inclusion, deferring systemic change until and through the next “crisis.”

Arab and Arab American feminists enlist their intimate experiences to challenge simplistic and assumptions about gender, sexuality, and commitments to feminism and justice-centred struggles. Contributors hail from multiple geographical sites, spiritualities, occupations, sexualities, class backgrounds, and generations. They employ a mix of genres to express feminist issues and highlight how Arab and Arab American feminist perspectives simultaneously inhabit multiple, overlapping, and intersecting spaces.

After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of "the enemy" during the War on Terror.

Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as "simplified complex representations." This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a "positive" representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as West Wing, The Practice, 24, Threat Matrix, The Agency, Navy NCIS, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.