This essay analyses one episode of the popular US TV series "Homeland", which has been said to be “TV’s most Islamophobic show” (cf. Al-Arian 2012) and decide if it contains islamophobic elements.
In a first step, using a variety of different sources, islamophobia will be defined. Afterwards, the paper will link theoretical input about the effects of stereotyping to stereotyping of Muslims as terrorists in post 9/11 series such as "24" or "Sleeper Cell". It will then analyse one episode of Homeland and apply the theoretical input to decide whether or not the series contains islamophobic ellements. Finally, the findings of this paper will be concluded.
Table of Contents
1. Introduction
2. Understanding Islamophobia
3. The Media and (Fictional) Stereotyping
4. Islamophobia in TV and Film?
5. Homeland and Islamophobia
6. Conclusion
Research Objectives and Key Topics
This academic essay explores the complex relationship between fictional media, cultural stereotyping, and the emergence of contemporary Islamophobia. The primary research objective is to investigate how Muslims are portrayed in US television series and to analyze, through a specific case study of the series "Homeland," whether these depictions reinforce Islamophobic tropes and ideologies.
- Theoretical definitions and historical roots of Islamophobia.
- The impact of media representations on the formation of societal stereotypes.
- Analysis of Muslim portrayals in popular US TV series such as 24 and Sleeper Cell.
- Case study of Fara Sherazi's character development in the series Homeland.
- Evaluation of media influence on political and social perception of Muslim identities.
Excerpt from the Book
4. Islamophobia in TV and Film?
With the potential link from stereotyping in the fictional media established to islamophobia, the question on how Muslims are portrayed in entertainment world arises. Is there any evidence for an existence of islamophobia? Are Muslims depicted as “cruel and backwards” (see Chapter 2) or do they follow a counterstereotypic narrative? What are common themes that Muslims are associated with?
Before these questions can be answered, a general look on the TV and movie industry’s history of Muslim depiction has to be made. Chester outlines the developments of Muslim portrayal in US TV series and movies. He recounts that Hollywood was “caught in between” (139) during the 2003 widespread support for the Invasion of Iraq and rising islamophobia in the United States (cf. 139). While it was reluctant to produce feature films portraying Muslims it was also “keen to serve a familiar function as propaganda warrior in time of war” (139). He cites Jack Valenti, then head of the Motion Picture Association, that Hollywood wanted to “avoid repercussions” (qtd. in Chester 139) from the “hard-working” (qtd. in Chester 139) Muslims in the country. While the feature films were slower to pick up Muslim portrayal, it was different for series and movies produced for the TV. Series like 24, The Agency or Threat Matrix featured the portrayal of Muslims (and Muslim terrorists) at an early stage. (cf. 139-140)
Interestingly enough, Steinberg argues that cinematic movies were quicker to pick up Muslim portrayal than their TV counterparts & series (cf. Steinberg 84), apparently contradicting Chester’s claims. However, this discrepancy is easily solved by examining Steinberg’s selection: While Chester purely concentrates on US movies and movies where Muslims are portrayed as violent extremists or terrorists, Steinberg also considers international movies and movies which depict Muslim life in a (multicultural) society (e.g. the 2001 BBC’s East is East or Disney’s Aladdin). She criticises East is East for its “racist, Islamophobic depictions of Pakistanis and Muslims” (84); Aladdin for representing Arab people as people with bad hygiene, dirty clothes and spreading stereotypes of Arab people to “lie, cheat and steal” (86).
Summary of Chapters
1. Introduction: This chapter defines the scope of the study, highlighting the rise of Islamophobia in post-9/11 Western societies and setting the framework for analyzing fictional media portrayals.
2. Understanding Islamophobia: The chapter explores various scholarly definitions of Islamophobia, tracing its historical roots and discussing the "open" vs. "closed" views of Islam as established by the Runnymede Trust Commission.
3. The Media and (Fictional) Stereotyping: This section investigates scientific evidence regarding how media content influences stereotyping, concluding that fictional media plays a significant role in shaping public perception.
4. Islamophobia in TV and Film?: This chapter reviews the history of Muslim depiction in US entertainment, focusing on how series like 24 and Sleeper Cell established recurring narratives of an "internal threat."
5. Homeland and Islamophobia: The core analysis centers on the character Fara Sherazi in Homeland, evaluating how her portrayal and interactions with other characters reflect broader Islamophobic ideological patterns.
6. Conclusion: The concluding chapter synthesizes the research findings, confirming that while Islamophobia is a complex phenomenon, fictional media contributes to the reinforcement of monolithic and negative stereotypes about Muslims.
Keywords
Islamophobia, Stereotyping, Fictional Media, Homeland, Muslims, TV Series, Othering, Cultural Representation, Political Discourse, Media Studies, US Foreign Policy, Islam, Terrorism, Social Consensus, Ideology.
Frequently Asked Questions
What is the central focus of this research?
The work examines the role of fictional media, specifically US television series, in constructing and perpetuating Islamophobic stereotypes in modern society.
Which series are primarily analyzed?
The study primarily focuses on the Showtime series "Homeland," while providing comparative context through analyses of the series "24" and "Sleeper Cell."
What is the primary goal of the author?
The aim is to determine if "Homeland" can be classified as Islamophobic by applying established theoretical definitions to the representation of the character Fara Sherazi.
Which academic methodology is utilized?
The author uses a qualitative analysis approach, incorporating media studies research, historical discourse analysis, and the framework of the Runnymede Trust Commission’s reports.
What subjects are covered in the main body of the text?
The text covers definitions of Islamophobia, the history of media influence on social perceptions, the depiction of Muslims in Hollywood, and a detailed scene-by-scene analysis of an episode from "Homeland."
What are the most relevant keywords for this paper?
Core keywords include Islamophobia, stereotyping, fictional media, cultural representation, and the critical analysis of US TV narratives.
How does the author interpret the portrayal of Fara Sherazi in "Homeland"?
The author argues that Fara Sherazi's "otherness," emphasized by her religious attire and the reactions of her colleagues, is central to how the series frames her identity within a suspected terrorist context.
What is the significance of the character Saul Berenson in this analysis?
Saul Berenson is analyzed as a trusted lead character whose verbal attacks on Sherazi's faith and her headscarf reinforce Islamophobic ideologies and present them as "justified" for the sake of the mission.
Does the author conclude that "Homeland" is explicitly Islamophobic?
The author finds clear evidence of Islamophobic elements within the series, though acknowledges that a comprehensive verdict would require a broader analysis of all characters and narrative arcs.
- Quote paper
- Gernot Meyer (Author), 2015, Islamophobia in "Homeland"? Analysis of the Popular US TV Series, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/351373
