More than sixteen years have passed since the launch of the Qatar-based Al Jazeera news channel. Looking back, the state of Arab media and its relationship with the political sphere was different from what we see nowadays. The launch of Al Jazeera in 1996 was a significant event that led to subsequent changes both in the media and politics. Among these changes, the Arab spring, which started in Tunisia in December 2010, is certainly the most remarkable one. This ongoing event has already resulted in the fall of four dictatorships and is expected to unleash a democratization wave and reshape the face of the Arab region. This research analyzes the Al Jazeera democratizing effect and looks at the political implications of the new Arab public sphere. In doing so, it seeks to fill a gap in the existing literature, which tends to ignore the Arab world that remains largely under-researched. Contrary to the top-down approach inherent in the dominant narratives on democratization, that pay almost no attention to the growing role of the media in political change, I adopted a bottom-up approach arguing that, particularly in the Arab setting, it has become almost impossible to separate changes in the media landscape from those in the political field. The Arab spring provides us with a telling empirical example where this interplay is remarkably manifest. In this context, Arab democratization is no longer an abstract; it is rather a developing process that needs our attention and requires concerted scholarly efforts. To develop an original approach to understanding Arab democratization and analyze its complex dynamics, I used grounded theory and its powerful tools in theory building. Based on this theoretical framework I opted for qualitative methodology to elaborate the empirical part of this research, which consists primarily of analyzing and interpreting in-depth interviews conducted with a sample of Al Jazeera’s staff in various managerial and editorial positions.

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This study is a comparative analysis of how Hollywood portrays people from the Middle East before and after 9/11. The films used to conduct this study are True Lies (1994), The Siege (1998), The Kingdom (2007) and Body of Lies (2008). With a qualitative methodology, discourse analysis and postcolonial theory this study analysed not only how people from the Middle East is portrayed, but also how the Americans in the films are presented and how the characters in the films changed in the movies produced after 9/11.      The results show that people from the Middle East are portrayed in a negative way and that Hollywood uses stereotypes. However, people from the Middle East are more gradated in the films post-9/11. There is a bigger focus on Islam in the movies produced after 9/11 and the study also shows that family values play a less central part in the story in the films made after 9/11 and that work is of more importance. The American characters have a greater need to help their country in the war against terrorists in the films produced after 9/11 compared to the American characters in the films made before 9/11.

Egyptian-Israeli relations from 1977 to 1979 as seen through the headlines, news articles, opinion pieces and editorials of three major Israeli newspapers: The Jerusalem Post, Yedioth Aharonoth and Ha'aretz

During the interwar period in Iran and Egypt, local and regional manifestation of tajadod/al-jidida (modernity) as a “cultural identity crisis” created the nationalist image and practice of zan-e emrouzi-e shahri/al-mar’a al-jidida al-madani (the urban/secular “New Woman”). The dynamics of the process involved performance art, including the covert medium of journalism and the overt world of the performing arts of music, play, and cinema. The image of the “New Woman” as asl/al-asala (cultural authenticity) connected sonnat/al-sunna (tradition) with the global trends of modernism, linking pre-nineteenth century popular forms of performing arts to new genres, forms, and social experiences of the space of the performing arts. The subversive transnational character of performance art operated across borders to promote both the discourse of modern womanhood in-the-making among intellectuals, and the public practice of women’s presence among the masses. However, the trans-border effects of the medium were limited by local cultural and political ideologies of nationalism. The spectacle of women on the screen addressed national independence and the creation of a national film industry to resist the financial dominance of Europeans. In Iran, zan-e emrouzi-e shahri served the project of founding a modern nation-state, elevating of a culture of the city and urban development, and institutionalizing performing arts, mirroring the upholding of “male-guardianship.” In Egypt, in the absence of an authoritarian modern state and long-term experience of foreign occupations, al-mar’a al-jidida al-madani accompanied the traditional figure of bint al-balad (the countryside girl) to present modern advancements in film production with a traditional accent, to oppose European cultural values, to provide a tangible space for women’s multifaceted anti-colonial maneuvering, and to connect Egypt’s past history to its future. Performance art helped women to convey their cultural nationalism and a sense of imagined identity by letting them see and be seen by each other, create interactions between the artist and the audience, and emphasize music as the heart of a society’s culture and art. A culture of body performance, a female visual public sphere, and a feminine (and feminist) interpretation of cultural authenticity in performance art led women to claim the profession as a legitimate career.

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