In the global media scene, media ownership is controlled by groups with political agendas. Intolerance of ‘the other’, from Islam and migrants to people of colour, show the rise of fundamentally prejudiced groups who relate well to negative media representations of ‘the other’, further fuelling financial support for dominant public voices, at the expense of those silenced by discrimination. Media studies on Islam show negative portrayals in Western media which neglect the Muslim voice. Some reasons include news culture, lack of knowledge about Islam and unawareness of the consequences from such narratives. This article identifies the growing trend of stories in the New Zealand media relating to ‘Islamic terrorism’ and critically analyses a random sampling of five news articles between 2014 and 2016 in terms of the negative, positive and ambivalent news content, both in their use of the written text and visual representations of Islam and Muslims. The tendency to use negative framing is evident with the absence or manipulation of the Muslim voice. Using the Islamic perspective of dialogue and persuasion, the theory of Ta’will, and socio-political rationale, the effects of and motivations for the written and visual news content are discussed. A case is made for a greater understanding of the textual and visual elements and more ethical reporting through intercultural engagement.

This article discusses news about Muslims via one researcher's social media news feeds after the Christchurch tragedy. Using intercultural and Islamic communication theories, the contents of several news stories are analysed for their contribution to the Muslim person's identity. Findings reveal four main categories: Muslim women and hijab; religion and terrorism; media, government, democracy and the politics of oppression; and representation of the Muslim voice. Substantial news content also depicts peace, love and forgiveness in its presentation of the human angle in New Zealand media. There is a significant shift from the negative othering rhetoric of international media to an inclusive national approach in the tone of the New Zealand press. However, Muslim narratives reveal that structural discrimination and systemic oppression do exist and pose safety and identity challenges. While news continues to divide and unite people depending on the press agenda, their depictions of Islam and Muslims have potentially major influences and serious consequences on the Muslim person's identity within the local and global Muslim communities.

Prior to the Christchurch mosque massacres on 15 March 2019, studies on New Zealand media showed that representations of Islam and Muslims were largely negative. Muslims were depicted as terror-prone and a threat to democracy and free speech. This popular media culture of negative framing is not unique to New Zealand as global media studies show a consistent and disproportionately high negative labelling of Islam and Muslims compared with adherents of other faiths. This article focuses on the role of the government and media to shift the dynamics in popular culture in Islamophobic media narratives. A critical analysis of the actions of these powerful sectors at the Conference on Countering Terrorism and Violent Extremism (CTVE) in 2021 showed an opportunity to address issues management and culture competence that could change the way Muslims and Islam perceived and represented the media.

As a genre of mass media, the romance movie has the potential to influence and shape audience’s views on socio-cultural issues of the time (Rahman, 2013). Asian romance movies often depict behaviours that challenge thei moral code such as obeying authority, adherence to cultural norms and putting society before self. For dramatic effect, such movies would often showcase scandalous themes and socially objectionable behaviours which are eventually resolved, indicating a return to socially accepted codes of conduct. There is a clear appreciation of values considered ideal in romantic partnerships including honesty and fidelity. Interestingly, such movies appear to capture the Asian diaspora, challenging social norms and negotiating its values, behaviours and beliefs against foreign elements. This article explores the scandals and consequences portrayed in some of these Asian movies, evaluating the effect this might have on their actors and a receptive audience. Elements of scandal in the personal lives of some of the actors make a case for life and art imitating the other in a cycle of challenge, compromise and conformity.

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