Entertainment or blackface? Decoding Orientalism in a post-9/11 era: Audience views onAladdin

Bullock, Katherine; Zhou, Shaoyu

doi:10.1080/10714413.2017.1344512

Cited by 6 publications

(20 citation statements)

References 6 publications

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“…The instinctive feeling is that this negative representation accumulates in the minds of many non-Muslim media consumers and is causally connected to anti-Muslim racism. These hypotheses are explored and confirmed with audience reception studies with caveats that viewers with exposure to differentiated news, critical theory, orientalism, or Muslim friends are less likely to adopt hegemonic meanings (Bullock 2015(Bullock , 2017Hall 1980;Rane et al 2014: 36;Saleem et al 2017).…”

mentioning

confidence: 75%

“…Anyone who approaches tropes from orientalism's repertoire must deal with it as something that is already defined in advance. Just what arches, domes, flying carpets, magic lamps, genies and harem dress do for those reproducing tropes for Aladdin (Bullock 2017), these images and metaphors of barbarism, threat, backwardness, exoticism, the harem, veils and turbans provide the imaginative material upon which draw the creative workers of the television shows I here analyse. Said (1979: 67) observed that orientalism exerts a three-way force on orientals, orientalists, and consumers.…”

Section: Theoretical Underpinningsmentioning

confidence: 97%

“…Typically, due to its emphasis on diversion and amusement, entertainment is often overlooked as a significant source of meaning making -especially by audiences -although it as equally constructed as news to reflect socially and politically dominant ideologies (Park, Gabbadon, and Chernin 2006;Mirrlees 2016). And while it would be nice to contribute to the meagre number of studies tackling causal connections between anti-Muslim racism and watching film and television representations of Islam and Muslims (Bullock 2015;Bullock 2017), this paper is not an audience reception study. I am focused on an analysis of the representation of the veil and turban-veil.…”

Section: Cassmentioning

confidence: 99%

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Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Bullock¹

2021

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In this article I investigate why two shows from different television genres in two different countries resort to nearly identical costume choices to convey villainy. I argue that that the directors, writers, and costume designers for the US science fiction show Stargate SG1 and BBC's Merlin use orientalist tropes of the veil as exotic, oppressed or threatening as costumes for their non-Muslim characters because of the centuries-long association in Western culture between Muslim veiling and the Other, while differentiating between acceptable and unacceptable headgear and face coverings. I draw on Said's Orientalism, Hall's Encoding/Decoding, medievalism, and the theory of the ethnonormative viewer to make this case. The “veil” has become an iconic negative sign in the West wholly distinct from meanings given to it by veiled Muslim women themselves. I suggest that anti-veiling ideology in Western publics stems in part from negative connotations given to it in television shows like Stargate SG1 and Merlin.

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confidence: 75%

Section: Theoretical Underpinningsmentioning

confidence: 97%

Section: Cassmentioning

confidence: 99%

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Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Bullock¹

2021

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“…In such conditions, heterogeneous features and data of different dimensions will result in different representations. This problem is a serious challenge to the collection and combination of data from different sources [141], [142]. The next problem is the presence of independent sources with decentralized distributions and control, something which is a major challenge to the applications of big data.…”

Section: Rq5) What Are the Shortcomings And Problems Of The Existing Methods And Techniques?mentioning

confidence: 99%

Support Vector Machines in Big Data Classification: A Systematic Literature Review

Almaspoor

Safaei

Salajegheh

et al. 2021

Preprint

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Classification is one of the most important and widely used issues in machine learning, the purpose of which is to create a rule for grouping data to sets of pre-existing categories is based on a set of training sets. Employed successfully in many scientific and engineering areas, the Support Vector Machine (SVM) is among the most promising methods of classification in machine learning. With the advent of big data, many of the machine learning methods have been challenged by big data characteristics. The standard SVM has been proposed for batch learning in which all data are available at the same time. The SVM has a high time complexity, i.e., increasing the number of training samples will intensify the need for computational resources and memory. Hence, many attempts have been made at SVM compatibility with online learning conditions and use of large-scale data. This paper focuses on the analysis, identification, and classification of existing methods for SVM compatibility with online conditions and large-scale data. These methods might be employed to classify big data and propose research areas for future studies. Considering its advantages, the SVM can be among the first options for compatibility with big data and classification of big data. For this purpose, appropriate techniques should be developed for data preprocessing in order to covert data into an appropriate form for learning. The existing frameworks should also be employed for parallel and distributed processes so that SVMs can be made scalable and properly online to be able to handle big data.

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“…They noted that while its stories were not always told in film, popular culture producers used it to reference any form of culture that factored the Middle East in its text, and they did so for a very long time. Bullock and Zhou (2017) also contextualized the role of Disney films as a form of "public pedagogy" (p. 459). Public pedagogy is a term used to describe learning that goes beyond the formal classroom atmosphere.…”

Section: Theoretical Interventions On Muslim Audiencesmentioning

confidence: 99%

The Iconic Muslim Superhero: Muslim Female Audience Perspectives of Marvel’s Muslim Superheroines

Hosein

2024

Preprint

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This dissertation critiques the construction of the American Muslim female superhero where Muslim identity is treated as an intersectional identity. It incorporates critical race theory, postcolonial feminism, affect theory, audience studies, postfeminism, and feminist comic studies. While American Muslim superheroes have existed for many decades, their representation flourished during the War on Terror. I first position the Muslim female superhero in the current social and geopolitical context in the West by discussing the underpinnings of the imperialist project in her construction. In the process, I discuss the ways she emphasizes Western exceptionalism and white male saviorism; and its implications for Muslim masculinities by depicting them as savage oppressors of women in comics written by White, non-Muslim men. I examine the attempts of Muslim writers to rehabilitate these images in the Ms. Marvel comic series, ending with a discussion for the potential of both these gendered representations in my Conclusion. The field of Muslim audience studies has been overlooked in scholarship despite the increase in negative representations of Muslims in Western media. This study contributes to that understudied area with an audience study examining young adult female Muslim perspectives of three Muslim superheroines – Sooraya Qadir (Dust), Monet St. Croix (M), and Kamala Khan (Ms.Marvel). If we analyze the conditions of possibility that led to an influx of American Muslim superheroes during the War on Terror, it becomes clear that the Muslim superheroine has two functions. For dominant audiences, she alleviates white guilt when we consider the increase in state violence committed against Muslims during this war. But for Muslim audiences who are frustrated with Orientalist depictions of them, she provides relief from these depictions, making their reactions an affective phenomenon. Because participants viewed their religious identity in conjunction with their racial, sexual, gendered, and cultural identity, I provide a critique of Arab Muslim femininity through emphasizing Black, South Asian, and LGBTQ Muslim identity. Finally, I discuss gendered Muslim identity in superhero comics through analyses of Islamic wear as costumes, and class representations of Muslim men.

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Entertainment or blackface? Decoding Orientalism in a post-9/11 era: Audience views onAladdin

Cited by 6 publications

References 6 publications

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Support Vector Machines in Big Data Classification: A Systematic Literature Review

The Iconic Muslim Superhero: Muslim Female Audience Perspectives of Marvel’s Muslim Superheroines

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