U.S. Latina/o Muslims Since 1920: From “Moors” to “Latino Muslims”

This article provides a historical overview of the development of the U.S. Latina/o Muslim community. U.S. Latina/os have been converting to Islam since the 1920s. Early converts were primarily found in African‐American‐majority Islamic communities, though there were some others who entered Islam through ties to Muslim immigrants. In both cases, the U.S.'s racist social system had brought the two communities together. In New York City during the 1970s, however, a group of around a dozen Latina/o Muslims felt that neither the African‐American‐majority nor the immigrant‐majority communities sufficiently addressed Latina/os' particular culture, languages, social situations, and contributions to Islamic history. To correct this, they created the first known U.S. Latina/o Muslim organisation, the Alianza Islamica, a group which fostered a “Latino Muslim” identity. Since that time, due to the growing numbers of U.S. Latina/o Muslims, as well as a tendency to foster ties with Latina/o Muslims in countries outside of the U.S., U.S. Latina/o Muslims are more and more adopting the “Latino Muslim” identity, which is now being promoted by several organisations and prominent leaders.     

The Muslim Male Character Typology in American Cinema Post‐9/11

This article tries to discover whether filmic stereotypes of Muslims in general and Arabs in particular have undergone any changes since 9/11, and if they have, what new character types have been developed to reflect these images. In the course of this study, results from other researchers who have examined the presentation of Muslims on the screen both before and after 9/11 are referred to, with a view of highlighting the sustained, unchanging character features, as well as detecting new formations. A variety of films, which have been released since 2011, incorporating Muslim and Arab characters, are used in this research and the physical appearance attributes and behavioral attributes as described by Mastro and Greenberg have been utilized to help with the analysis. The most important finding is that in the 10‐year period following 9/11, although some familiar characterizations still hit the screen occasionally, there has been a tendency to reconstruct more convincing Muslim and Arab cinematic characters. Also noticeable is the fact that the narrative at times focuses on their ethnicity or economic status more than their religious beliefs. Continued research will show if this is a passing phase or the beginning of an end to Muslim and Arab stereotyping in American cinema.