with images of mythical exoticism on display in films like Gods of Egypt (2016) and the Aladdin remake (2019). Orientalism combines with the terrorist stereotype in American blockbusters like the “historical” action film 300 (2006), which cast white British actors as heroic Spartans battling hordes of (literally) monstrous, dark‐skinned, and sexually perverse Persians. The film seemed almost designed to exploit and capitalize on post 9/11 anti‐Arab and anti‐Muslim feelings in American culture; its grotesque stereotyping encourages audiences to hate and fear its Persian characters while simultaneously inflaming and justifying white masculine violence. Although the film was protested by media activists and the Iranian government itself, the film’s sequel 300: Rise of an Empire (2014) mines similar ground. And Arab terrorists remain front and center in the few Hollywood films that do attempt to engage with the actual wars in the Middle East, such as The Kingdom (2007), The Hurt Locker (2008), Zero Dark Thirty (2012), and American Sniper (2014). Perhaps in an attempt to balance these portrayals, a few other post‐9/11 films, such as Crash (2004) and Babel (2006) included more empathetic Arab or Persian characters in attempts to convey the complex, interwoven impact individuals can have on each other’s lives across cultures. Yet, even in these films, these characters were given less screen time than the “white” characters (played by bigger name stars such as Matt Dillon and Brad Pitt).
Against this complex socio‐political backdrop, it is perhaps no surprise that Arab and/or Arab American actors in Hollywood have not had an easy time finding challenging or complex characters to play. One of the first actors of openly Arab descent to make a name for himself was Omar Sharif, who was an Egyptian film star before his performance in Lawrence of Arabia earned him an Oscar nomination and catapulted him to international fame. After his lead role as Dr Zhivago (1965), he played leading men in several Hollywood films including Funny Girl and Funny Lady (1975). Sharif continued his acting career in mostly European films and passed away in 2015. American actors of Lebanese heritage such as Danny Thomas, Jamie Farr, and Casey Kasem have worked more regularly in television and radio. Thomas was the star of the popular sitcom Make Room for Daddy (1953–65), Farr played the cross‐dressing Corporal Klinger in the TV show M*A*S*H (1972–83), and Kasem had a decades‐long career as a successful radio host and voice‐over artist, performing the voice of Shaggy in the long‐running Scooby‐Doo cartoons. Another actor of Lebanese descent (though born in Wisconsin) is Tony Shalhoub. He has consistently found work on the Broadway stage, winning a Tony award for The Band’s Visit (2017), on television (Wings [1990–1997], Monk [2002–2009]), and as a character actor in Hollywood films including Galaxy Quest (1999), the first three Spy Kids films (2001, 2002, 2003), and the Cars franchise (2006, 2011, 2016). Most recently, actor Rami Malek (of Egyptian heritage) has won accolades for his lead role in Mr. Robot (2015–2018) as well as an Academy Award for playing Freddie Mercury (who was of Persian heritage) in the musical biopic Bohemian Rhapsody (2018).
Other successful actors of Arab descent include F. Murray Abraham (who won an Oscar for his role as Salieri in Amadeus [1984]), Shohreh Aghdashloo (who garnered an Oscar nomination for her role as an Iranian immigrant in House of Sand and Fog [2003]), Alexander Siddig (Dr. Bashir on Star Trek: Deep Space Nine [1993–9]), and Kathy Najimy (Sister Act [1992], Hocus Pocus [1993]). It should be noted, though, that many actors of Middle Eastern heritage are still regularly cast as terrorists or sheiks; if they want to work, they are sometimes compelled to accept those roles. Also, many still feel compelled to alter or change their Arabic‐sounding names in order to work in the business. For example, F. Murray Abraham’s birth name is Fahrid Murray Abraham; the actor’s official stage name potentially hides his Middle Eastern heritage.
Rami Malek in his Oscar‐winning role as Queen vocalist Freddie Mercury in Bohemian Rhapsody (2018).
Conclusion: Whiteness and American Film Today
Whiteness is still the unspoken ideal in American movies. Yet, as our society continues to become more diverse, so too do our movie screens. During the 1990s, multiculturalism was increasingly endorsed and/or celebrated in America, culminating in the Federal Census Bureau allowing people to check off more than one racial category for the first time in 2000. Possibly in response, many people who regarded themselves as white in the 1990s began reconnecting to their ethnic heritages, taking pride in their Irish, Italian, or other roots. The rise of racially and ethnically diverse sitcoms in recent years – including Everybody Loves Raymond (1996–2005), Everybody Hates Chris (2005–09), The Goldbergs (2013–), Black‐ish (2014–), Fresh off the Boat (2015–), The Real O’Neals (2016–17), and Mixed‐ish (2019–) – seem to acknowledge this trend. That said, the last ten years has also seen the return of white nationalist discourses to mainstream American politics, suggesting that many white Americans feel threatened or frightened by these developments. As the nation continues to diversify in terms of race and ethnicity – a situation that most demographers acknowledge is happening – hopefully such overt displays of violent white supremacy will be pushed back into the margins of American society where they belong.
Nonetheless, actors, like all Americans, are coming from increasingly diverse backgrounds, including mixed‐race and mixed‐nation families. F. Murray Abraham, mentioned above, was born in Pennsylvania to parents of Italian and Syrian descent. Salma Hayek’s heritage is Lebanese and Mexican. Jessica Alba’s father is from Mexico, while her mother is of French and Danish descent. Rashida Jones, who played memorable roles in the hit TV comedies The Office (2005–13) and Parks and Recreation (2009–15), is the daughter of African American musician Quincy Jones and white actress Peggy Lipton. Other contemporary actors with mixed‐ethnic/racial backgrounds include Jennifer Beals, Halle Berry, Wentworth Miller, Angelina Jolie, Cameron Diaz, Max Minghella, Keanu Reeves, Mariah Carey, Dwayne “The Rock” Johnson, and Vin Diesel. Like The Rock, Vin Diesel has become a major Hollywood action star, appearing in various films and franchises such as The Fast and the Furious (2001–), xXx (2002–), and Guardians of the Galaxy (2014–). Before his Hollywood successes, however, Diesel wrote and directed a short film about media stereotypes. Multi‐Facial (1999) follows Diesel’s character as he auditions for roles as an Italian American, a Latino, and a black rapper. His shifting personas in front of the casting directors (as well as his fellow actors) suggest that race and/or ethnicity is merely a matter of performance, a certain attention to and replication of behavioral traits and speech patterns. As a calling card, the film propelled Diesel into his Hollywood career, but it also chides the film industry (and especially casting directors) for perpetuating racial and ethnic stereotypes.
The growth in the number of performers who seem to transcend racial or ethnic categories may seem like a positive development in American film and television. Yet it should be recognized that industry interest in such individuals is often more due to economic interests than social or political ones. If some people regard, for example, Dwayne “The Rock” Johnson as white, and others as a person of color, then he potentially draws in multiple audiences. Furthermore, the public perception of such stars taps into the historically complex issues and opinions over passing and assimilation within white communities and communities of color. Still, the growing awareness and acceptance of multi‐ethnic identities further complicates what many usually assume as the unproblematic nature of whiteness.
Questions for Discussion
1 Think about your own national, ethnic, or racial heritage. To what extent does it shape your personal identity? Share your thoughts with your classmates. Are people of color more aware of these issues than are many whites? If so, why?
2 What are the pros and cons of assimilation? What should
