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The Jordanian government on Aug. 1 closed a shrine dedicated to the prophet Aaron near the ancient Nabataean city of Petra. The move followed a burst of public outrage sparked by videos and photos circulating on the internet showing a group of Jewish tourists praying at the site. 

Suleiman Farajat, commissioner of the Petra Development and Tourism Region Authority (PDTRA), had said in an Aug. 2 statement that the photos shared online date to 2013, but that the videos of Jewish men praying were more recent. Farajat remarked that the PDTRA had closed the site after learning that some 300 Israeli tourists had been planning to visit the shrine. At least five Israelis were able to enter the tomb, having been permitted access by guards. Farajat stressed that the authority will not allow non-Islamic religious ceremonies at the site. He asserted in his statement that the tomb has nothing to do with Judaism historically or archaeologically.

“The small Muslim shrine on top of the high peak at Jabal an-Nabi Harun was constructed in 1330 by the Mamluk Sultan Al-Nasir Muhammad.” She added, “There is a tomb inside the shrine, but there is no evidence whatsoever that it actually belongs to Aaron. Such shrines to prophets and virtuous men were built at many places by the Ayyubids, Mamluks and Ottomans to enforce the Muslim identity of the state and to vent political discontent by the local populations.

The film follows Yasser, a Palestinian construction worker who becomes embroiled in conflict with Toni, a right-wing Lebanese Christian, over a leaking water pipe. When Yasser confronts Toni about his grievances, Toni hurls back an insult that strikes sharply at the heart of the Palestinian struggle. The film examines the many forms our personal truths can take, how they collide, and the consequences of words in a polarized world.

It could happen like that in Lebanon. You could have a very silly incident that could develop into a national case.

we were fought because some people thought that we’re opening old wounds, and then all the people felt that, you know, we were defaming the Palestinians. Other people said we were attacking the Christians. Anytime you make a movie that is a bit sensitive — this one is a little bit more than a bit sensitive — people go up in arms. You know, they look at the film and then they immediately start projecting themselves and projecting their prejudices against it

Three Arab countries have banned the Hollywood film "Noah" on religious grounds even before its worldwide premiere and several others are expected to follow suit

Islam frowns upon representing holy figures in art and depictions of the Prophet Mohammad in European and North American media have repeatedly sparked deadly protests in Islamic countries over the last decade, fanning cultural tensions with the West. "Censors for Qatar, Bahrain and the UAE (United Arab Emirates) officially confirmed this week that the film will not release in their countries," a representative of Paramount Pictures, which produced the $125 million film starring Oscar-winners Russell Crowe and Anthony Hopkins, told Reuters

the studio expected a similar ban in Egypt, Jordan and Kuwait

two films and a television series that attempt to wrap Islamophobic stereotypes in a slick, sophisticated package for a liberal audience

The Islamists who ultimately came to dominate Iran were on the right wing of the revolution--but such distinctions are totally beyond Argo, which treats almost every Iranian as a fanatic screaming in un-translated Farsi

While the Muslim masses outside the embassy are depicted in mostly wide shots as an undifferentiated, unintelligible crowd, the moment we go inside the embassy and meet American characters, we get close-ups, humanity, individualized characters and dialogue we can understand.

It is a tale of history that is a decline. A fraying of social fabric, as mistrust enters into the interactions between neighbors. From a way of living where to be Jewish was inconsequential to social relations, to the way that being Jewish became an accusation.

The story of Jews in the Middle East does not fold smoothly into a Jewish narrative of oppression, and many Egyptian Jews can trace their families’ arrival in Egypt to an escape from persecution, whether from pogroms or the Spanish Inquisition. The history of the Jews in Europe has been told such that it becomes the history of all Jews, and it is a deeply politicized narrative, its folds influenced by Zionism, such that the history of the Jews without a homeland is simply one of persecution, and that Israel offers a solution to that perennial condition. The Jews of Egypt tell a different story. So different was this story that, even for those who did not oppose Israel for political reasons, it simply did not resonate or speak to them. As a French journalist, the daughter of an Egyptian Jew, says: “It did not occur to the family to go to Israel. That was a place for oppressed Jews, so it wasn’t for us.”

“Laila Mourad,” a man says near the start of the film, “she was great.” But on hearing that she was Jewish, he takes his praise back. There is only one comment of this sort in the film; it is not an exploration of contemporary Egyptian perceptions of Jews. Rather, this comment acts as a pointer to contemporary reality, and in a sense, because it is so near the start, the rest of the film is a kind of answer or a rejoinder to it.