To illustrate the systematic means by which the Muslim other is turned into a source of anguish and horror, we use the term manufacturing fear. Manufacturing fear is the systematized process of creating and constructing fear of the other. It occurs through regularized procedures and techniques in an almost persistent mood. Through these methods, the other is shaped into a menacing entity with more-beast-like qualities as his/her definitive features. In this paper, we aim to investigate how fear functions in three American novels, namely, John Updike's Terrorist (2006), Don DeLillo's Falling Man (2007), and Andre Dubus III's The Garden of Last Days (2009). We also examine these disturbing images concerning the narratives' exemplification of Muslims. Pertaining anecdotes where fright is manifested about the Muslim other are contextualized within the existent discourse of fear. Situating these novels within the post-9/11 atmosphere of distrust and trauma uncovers the underlying approaches employed by novelists to exemplify the Muslim other. In these three narratives, imageries related to dread are presented by employing diverse techniques and approaches. Fear of the Muslim other is manufactured through blood scenes, historical conflicts and terrorist plots.

In Malaysia, a number of issues have transpired concerning the proliferation of TV fiction. Many of these complications include, but are not limited to concerns regarding feminism, patriarchy, economic imbalance, equity, power, social inequity, and religion. In this paper, we aim to locate TV fiction and Malay cultural identities across mediascape. Two primary objectives are central; firstly, this review embodies contextualization of TV fiction through examining some trajectories in which many popular TV fiction have been established. Secondly, this paper places Malay cultural identities in relation to the development and progress of mediascape. By examining these two central questions, we explore some of the many possibilities in which Malay cultural identities are explored, preserved, contested, and blurred in times of changing and challenging realities of Malaysian mediascape.

This paper discusses readings on Malay cultural identities in Malaysian context. While previous research on Malay cultural identity has presented a broad understanding, this paper attempts to frame this discussion based on three perspectives-elite constructions, socio-cultural worldviews, and resistance to Malay world. By placing Malay cultural identities in relation to the Malaysian context, it explores the dynamics concerning what is distinctive and worthwhile about Malay cultural identities. In addition, this study forms some of the bases for a renewed understanding and interests on Malay cultural identities in light of the burgeoning industries of popular TV fiction.