(Photo by Dennis Amith via Flickr/CC BY-SA 2.0 DEED)
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Immediately after the October 7th attack in Southern Israel by armed fighters of the Palestinian political party Hamas, Western media widely reported that the bodies of 40 beheaded babies were found in the aftermath. The origin of the claim came from Israeli news channel i24’s interview with Israeli reserve soldier David Ben Zion, a leader of the far-right settler movement in Israel. Despite no evidence confirming such a striking act of violence, the claim’s ongoing uncritical publicity by major Western news outlets was promoted further by U.S. President Joe Biden. Although his administrative staff cautioned about the validity of the reports, Biden stated during an October 11 press briefing that “[he] never … thought that [he] would see, have confirmed, pictures of terrorists beheading children.” The following day, the White House released a statement backtracking Biden’s claim.
However, it was too little too late. The myth of “beheaded babies” has stubbornly lingered in media narratives and public discourse as Israel continues to engage in the largest mass slaughter of children in the 21st century, at least 10,000 since late January. The persistence of this false claim suggests that the idea of armed Arab Muslim men engaging in extreme violence somehow seems believable or expected to Western audiences. The roots of this stereotype trace back to European literature and American cinema.
The Orientalist Roots of Hollywood
Arabs have long tolerated misrepresented depictions in Hollywood, often portrayed through stereotypes that reinforce existing power dynamics. These stereotypes are rooted in the West’s historical exoticization of the East. Renowned Palestinian scholar Edward Said, a professor of English literature, critiqued these tropes in his groundbreaking 1978 book, Orientalism. As defined by Edward Said, “Orientalism is the practice by which Western cultures perceive and portray Eastern societies as exotic, backward, and uncivilized, often to justify Western dominance.” Said demonstrates how these tropes have been a constant feature of Western literature — ones that continue to shape contemporary cinema in Hollywood. It is a perspective that affects Western audiences’ ability to understand and humanize Eastern cultures, presenting them as fundamentally different and inferior.
The continuation of these stereotypes in the 21st century highlights their ongoing influence on popular culture. By highlighting the modern ways Orientalism continues to be a common trope in American cinema, we can better understand how these stereotypes have spread throughout media representations and shaped political narratives toward Arabs — particularly Palestinians as the genocide of Gaza continues to be supported by Western liberal democracies.
Backward & Violent Arab Men in Cinema
The Hollywood film industry, with its worldwide influence and long-standing history, often portrays Arab culture and identity through stereotypes and misrepresentations. Its films, seen by audiences everywhere, tend to cast Arab people and their customs in a negative way, influencing how the world sees and understands an entire culture.
A key early example of this is The Sheikh (1921), a film which transports the viewer into the sands of North Africa, focusing on the town of Biskra in Algeria. From its opening scene, the film sets the tone with a telling narration: “Where the children of Arab dwell in happy ignorance that civilization has passed them by.” At the very beginning, this meta-commentary immediately prepares the viewer to view the Arab world as underdeveloped and backward, reinforcing negative stereotypes about Arabs.
Moreover, this period marked a sensitive and distinct era in the formation of stereotypical images of Arabs and Muslims in Hollywood cinema. Palestinians were often portrayed in films as murderers of the innocent, terrorizing people, and bombing places. Films like Rules of Engagement (2000) depicted Arabs in an uglier and cruder light, portraying Arab civilians protesting in front of the U.S. embassy in Yemen. The portrayal of armed men invading dozens of women and children led to a decision to shoot everyone without exception, reinforcing the idea that all Arabs are the same and even women and children are seen as potential terrorists who must be deterred by arms and force.
This film has been regarded as one of the most racist portrayals of Arabs ever created by Hollywood. As Jack Shaheen’s observation suggests, the final scenes reveal a depiction of Yemeni boys and girls engaging in violent acts against Marines, reinforcing derogatory stereotypes. The repeated use of insults further underscores the film’s dehumanizing portrayal of Yemeni Muslims, justifying their slaughter.
By highlighting the source of these stereotypical images, we see that there are no specific criteria for the growth of this negative representation of Arabs in Western media, especially in Western cinema.
Fast forward to the present day, and these same ideologies and stereotyping persist in modern cinema. One recent example is the movie American Sniper (2014), which underscores how Arab characters are dehumanized, including children, and subjected to horrific forms of violence and brutality. This comparison highlights the continuity of harmful representations of Arabs in Hollywood, spanning from The Sheikh in 1921 to American Sniper in 2014, illustrating how deeply entrenched these stereotypes remain in popular culture.
Media Narratives and Arab Stereotypes
The aftermath of the October 7th attack brought to light not only the tragic events on the ground but also the power of media narratives in shaping public perception. Western media — including major news outlets — widely circulated claims of Hamas’s involvement in heinous acts, such as the alleged beheading of babies. Despite the lack of concrete evidence, these reports gained traction, fueled by sensationalism and uncritical reporting.
This episode underscores a troubling trend in media coverage, where Orientalist biases and stereotypes about Arab communities are perpetuated and amplified. From Hollywood classics like The Sheikh to modern blockbusters like American Sniper, the portrayal of Arab men as violent and backward continues to shape public discourse and perpetuate harmful stereotypes.
As we reflect on the impact of misinformation and media representations, it becomes evident that solid fact-checking and critical analysis are essential in ensuring accurate reporting. Moreover, confronting the Orientalist roots of Hollywood and challenging biased narratives are crucial steps toward fostering understanding and empathy across cultures.
In a world where misinformation spreads rapidly, journalists and media professionals must uphold journalistic integrity and strive for balanced, nuanced reporting. By doing so, we can move towards a more accurate and compassionate portrayal of Arab communities and contribute to a more informed global discourse.
Edited by Majeed Malhas
