Media coverage of Islam-related issues has changed dramatically since the beginning of the new millennium, both in quantity and quality. The events of September 11, 2001, thrust Islam into the global media forefront: not only did coverage of Islam drastically increase, particularly in news and entertainment media, but the way in which Islam was framed by the media changed as well.
No longer relegated to the realms of innuendo and secrecy, today we see a wide range of gender identities and sexual orientations represented on television and in mainstream film alongside cisgender people. 2SLGBTQ+ (two-spirit, lesbian, gay, bi-sexual, trans, queer and gender and sexually diverse communities) people see their reflections on screen in a wide variety of roles. And yet, there remain many challenges.
Generations of North American children have grown up watching “cowboys and Indians” films and TV shows and reading books such as The Adventures of Tom Sawyer and Little House on the Prairie. Popular films and novels reinforced the notion that Indigenous people existed only in the past—forever chasing buffalo or being chased by the cavalry. These images showed them as destined to remain on the margins of “real” society. Such impressions and childhood beliefs, set at an early age, are often the hardest to shake: as Anishinaabe writer Jesse Wente explains, “In the absence of appropriate representations of Indigenous Peoples in the media, misrepresentations become the accepted ‘truth.’”[1]
Racial stereotypes abound on television, and children's programming is no exception. The turban-wearing bad guy, the brainy Asian, and the Black basketball whiz are just a few of the stereotypes reinforced in children's cartoons, films and TV shows. Spotting these stereotypes is often difficult for children; to them, the tomahawk-wielding Indian or the Asian karate expert is a familiar, easily-understood and often funny character. So how do you help children understand these images for what they are – oversimplified, generalizations?
Canada is a culturally diverse country that is home to many different religions. These religions, however, are not always equally represented in Canadian media, where portrayals of religion are often stereotyped and disempowering.
Since the 1990s, media educators Anita Day and Guy Golan have identified increased tension between people of faith and media outlets [1]. Media and religion are two concepts that can be challenging to partner: religion is frequently misrepresented in media for a wide variety of reasons, whether as a result of mistakenly held beliefs or by dramatizing religion to sell newspapers or attract viewers.
2SLGBTQ+ people have been involved in producing their own media for as long as alternative media has existed, but with the advent of the electronic age and cheaper and more accessible electronic devices for production, there has been an explosion of 2SLGBTQ+-produced media of all kinds. The following section explores the ways that 2SLGBTQ+ people have sought to claim space for themselves within media and culture.
What colour is an Airbender? If this question is not at the top of your mind, it's because you haven't been following the controversy surrounding the casting of the film The Last Airbender, set to premiere in early July. The question of ethnicity in the film's casting casts a valuable light on many of Hollywood's decisions when it comes to race and gender – and the attitudes and assumptions that underlie them.
Although many concerns remain about how gender represented in media, there are signs that things are changing. Roles for women on television, in particular, have become much more varied and complex in the last decade, ranging from the conflicted Star Wars hero Ahsoka to Marvel characters such as Echo and Ms. Marvel to more realistic characters like Never Have I Ever’s Devi, while a growing number of movies and TV shows are questioning narrow definitions of masculinity.
"We are experiencing a sea change with women and movies, a shift in numbers but also in consciousness. Female-driven movies, from women filmmakers and not, open weekly and are greeted as a matter of course rather than as aberrations; some dominate the box office, and a handful are enlivening the awards season. Despite continuing biases and barriers, women are now directing movies with a variety of budgets, topics and casts."