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Stereotypes of Arabs and Muslims in the United States have been presented in various forms by the mass media in the American culture. Stereotypical representations of Arabs are often manifested in a society's media, literature, theater and other creative expressions. These representations, which have been historically and predominantly negative, have adverse repercussions for Arab Americans and Muslims in daily interactions and in current events. In American textbooks, which theoretically should be less-creative expressions, similar negative and inaccurate stereotypes are also found for Arabs〔(''American School Textbooks – How They Portrayed the Middle East from 1898 to 1994'' ) American Educational History Journal, Volume 35, Number 1 and 2, 2008, edited by J. Wesley Null〕 and Muslims. ==Background== Rudolph Valentino's roles in The Sheik (1921) and The Son of the Sheik (1926) set the stage for the exploration and negative portrayal of Arabs in Hollywood films. Both ''The Sheik'' and ''The Son of the Sheik'' represented Arab characters as thieves, charlatans, murderers, and brutes. Other foreign movies of the 1920s share a common theme of power-hungry, brutal Arabs ultimately defeated by westerners: *The Thief of Bagdad (1924) *A Cafe in Cairo (1924) *The Desert Bride (1928) Simon singles out ''A Son of the Sahara'' (1924) as "the strongest subconscious attack on the Arab culture of all the Arab movies of the 1920s." The same themes prevailed into the 1970s and beyond: *Black Sunday (1977), based on a successful 1975 novel by Thomas Harris, concerns a Palestinian Woman plot to bomb a stadium during the Super Bowl. *The Black Stallion (1979) opens with Arabs mistreating a horse aboard a ship, then attacking a boy with a knife and stealing his life jacket. *Back to the Future (1985), went so far as to name a specific country, referring to antagonists in the film as "Libyan rebels". 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Stereotypes of Arabs and Muslims in the United States」の詳細全文を読む スポンサード リンク
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