In the age of multi-literacies, contemporary theories and devices are required to decipher increasingly complicated challenges which are presented by the digital technological revolution. Some of the existing approaches and frameworks of could inspire us but are not well equipped to address the complexities and multi-perspectives of the eccentric challenges that scholars face on diverse issues. Therefore, I present the critical semiotic order theory (CSOT) as a new eclectic theory to analyze discourse and moving and still images critically, semiotically and using systematic orders simultaneously.The theory has four hypotheses: 1) the positive and negative order hypothesis; 2) the zero value order hypothesis; 3) the chaos order hypothesis; 4) the semiotic indices order hypothesis. The theory was applied to three movies, and was successful in unearthing numerous perceptions and some were microscopic semiotic communicative indices and related them to polycentric Occidental ideologies.Hollywood has made over a thousand movies negatively stereotyping (NS) Arab/Muslim identities and voices (AMIVs) and the images in the vast majority are demeaning (Shaheen, 2009: 2). This research sets to find out whether the misconstruction of Arab/Muslim identities and voices (AMIVs) in three Hollywood movies are ordered, patterned, systematic, and related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments.The three movies showcase dozens of discursive microscopic critical semiotic orders and patterns of NS of AMIVs in discourse and still and moving image such as being: angry, dangerous, dirty, primitive, uncivilized, dishonest, cowards, fanatics, slaves, extremists, savages, liars, sorceress, killers, terrorists, mad dogs, child terrorists, suicide bombers, etc. The racism touches Arab/Muslims' (A/Ms) characteristics, personalities, races, cultures, traditions, histories, stories, folklores, costumes, images, etc.The analysis showed that there was a systematic pattern and order of NS of AMIVs within and across the three movies, and the NS is related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments for socio-cultural, socio-economic and socio-political investments in a vast complex web that some of it can go to hundreds of years in making. Nowadays, NS of AMIVs is done by many Westerners for various ideological agendas and investments, and they have appointed themselves as judge, jury and prosecutor.

This practice-based research addresses the challenges that face the animation practitioner in the Arab region. In engaging with this topic it highlights the contrast with international animation producers, and also seeks to analyse how Arab animation cinema is represented and understood in the West. It introduces Arab animation history, and the animation industry as it currently exists in the Middle East. I suggest the reasons why there have been so few animated shorts and feature-length films successfully produced in the Arab world, in spite of their being a rich literary and cultural heritage. This study reveals a number of cultural, religious, political and economic issues related to Arab animation cinema, both in relation to its history and in regard to its place domestically and internationally. This research explores how YouTube and other social media became the main platform for Arab animation artists to distribute their political works during and since the 'Arab Spring' in the Middle East. The immediate consequence of this is an explosion in the exposure of Arab animation artists and their work to the world, in comparison to the very limited opportunities and freedoms of the past. Moreover, this study seeks to open up a conversation about the possibility of showing animated films that include Arabic content to Western audiences. This is complex in the sense that the place and presence of Arab animated stories are affected by how the representation is perceived within its production context and conditions of exhibition. My research will result in original knowledge, to be made available to Arab filmmakers, the Arab film industry and international academics addressing and championing animation, by engaging with conceptual questions, creating a critical practice methodology, and applying research-led practice methods.