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certain passages in the novel some Muslims had found blasphemous

In many significant ways, the "Salman Rushdie Affair" marked the start of the rise of Islamophobia in the US and Europe, affecting millions of Muslim communities and particularly, the refugees forced to flee their homelands. Rushdie himself became a key culprit in fomenting that hatred against Islam and Muslims. As Ayatollah Khomeini led the militant Muslim fanatics, Rushdie did the same with Islamophobe liberal imperialists like Bill Maher, Christopher Hitchens and Sam Harris, with Muslim communities inadvertently getting caught in between.

Satanic Verses was the first casualty of the Salman Rushdie affair and the last novel that Salman Rushdie would write - no matter how many more he published. After February 1989, it ceased to be read on its own merits or maladies. It became an allegory, an icon, a dead certainty - non-Muslims used it to explain or to camouflage their anti-Muslim hatred, and Muslims - to denounce "the West" and its plots against the Muslim world.

The Israel they represent is more religious and less beholden to the values and inheritances of the old, Europeanized elite and its dwindling left

This month, the left-leaning daily Haaretz highlighted internal discussions in the ministry about what artistic works might be considered “politically undesirable” for high-school students. Among the criteria, the newspaper said, were whether artists would perform in West Bank settlements and declare loyalty to the state and to the national anthem, something that is particularly problematic for Israel’s Arab citizens.Internal discussions are not policy, but even this report drew stinging responses, with Oded Kotler, a prominent Israeli actor and director, comparing Israel to the Soviet Union and telling Israel Radio, “There’s a real culture war underway here, but the war from that side of the political map is a harbinger of zealotry, darkness and coercion.”Mr. Kotler infuriated the government and the political right last summer when he compared its supporters to “cud-chewing cattle.” That was in response to Ms. Regev’s effort to freeze state funding for an Arab theater in Haifa because of a play about a Palestinian prisoner who murders an Israeli soldier. The production, “Parallel Time,” had enraged the right and Mr. Bennett banned school trips to see it.

Mr. Bennett, for his part, overruled ministry experts to ban from high-school reading lists a novel about a romance between an Israeli woman and a Palestinian man, apparently out of fear that it promotes assimilation. The romance takes place abroad; the pair splits up when they return home, to Israel and the West Bank. Mr. Bennett said the novel, “Borderlife,” by Dorit Rabinyan, disparaged the Israeli military, and the head of his ministerial committee said it “could incite hatred and cause emotional storms” in classrooms.The debate about the book actually increased its sales, something Ms. Rabinyan credited in an interview to “the strength of Israeli democracy.”

The novel begins with the Israeli woman, who is Sephardic, coming under suspicion of terrorism in New York over her “Arab” appearance and because she writes from right to left. “This is the bond that connects her to the Palestinian,” Ms. Rabinyan explained. “I don’t consider my Israeliness to be hegemonic.”

Whereas entertainment channels that do not offer news content can attract a multisectarian and multiethnic viewing base, news channels generally draw upon a particular ethnic or sectarian segment of the population whose coverage it favors, further reinforcing the political divisions that already afflict the media environment. 

 “The Ninth Studio” does not rely for its success on an enormous budget or sophisticated technical capabilities. Rather, it tends to deal frankly and directly with issues that concern the ordinary audience, and to do so with a high degree of independence. “The Ninth Studio” tends to focus on issues pertaining to the corruption and inefficiency of governmental institutions, and generally offers scathing criticism of Iraqi officials, without indulging in the discourse of sectarian prejudice.

Despite the absence of sectarian language on “The Ninth Studio,” and the difficulty of discerning any sectarian bias in its rhetoric, Iraq's Media and Communications Commission temporarily shut down its office in September on the pretext of it being a threat to public peace. Most likely, this decision came in response to governmental pressures, and as a consequence of the show's earlier criticism of the commission.

The problem is that neutral media organizations usually lack sufficient financial support, and are exposed to pressures by officials who are unhappy with their content, without being able to rely on independent institutions capable of defending them.

“Many viewers saw this vision as biased, as it addressed only Abdel Nasser’s flaws and neglected his virtues, while glorifying Mohammad Naguib with no reliable proof,” Shennawi told Al-Monitor. “Egyptian cinema suffered a lot in the era of Abdel Nasser, who exploited cinema to promote the ideas of the July 23 revolution and gradually root out any opposing ideas. Egyptian cinema started breaking free from those restrictions with the film ‘Al-Karnak’ [1975], which criticized Abdel Nasser’s era, and ‘Ahl al-Qima’ [People on the Top, 1981], against [President Anwar] Sadat’s Egypt.”

many Nasserists and supporters of the 1952 revolution have harshly criticized the film. Last month, Magdy Eltayeb, film critic for the newspaper Al-Qahira, posted on his personal Facebook page, “Diamond dust is poisonous. … [The film] adopted a stance against the 1952 revolution. … It showed excessive sympathy with the Jews to the extent that this has undermined this work’s aesthetic value as a film noir.”

A hit, “Diamond Dust” has so far earned 27.6 million Egyptian pounds ($1.5 million) at the box office.

Arabic sci-fi is an opportunity to respond to the damaging stereotyping of the "Arab Other" in mainstream sci-fi, as well as a space to explore the complex challenges facing Middle East today."The problems of contemporary Islamic society - the problem of gender, the problems with authoritarianism - all of these are explored very thoroughly in Arab sci-fi. But most importantly of all, it is Arabs reflecting on themselves,"

The first story in the compilation is by Gaza resident Sama Hassan, titled “No." It tells the story of a woman whose husband repeatedly rapes her, sometimes until she is bleeding, but she cannot utter the word “No." “… Over and over he cut into her flesh, which grew increasingly tough until she emitted a groan of pain. … You are nothing but the family’s property, was the first grating thought. Hands and womb, hands and womb." I told Burbara that the story had shocked me. I put the book aside and could not continue reading for a few days. “We put ‘No’ first on purpose,” she explained. “We wanted readers to feel and tell themselves, ‘Wow, what is she telling us? How will we learn more about the women in Gaza who are not heard.’”

Given the nationalistic climate in Israel, with a prime minister who incites hatred of Arabs, I asked Burbara how many Jewish Israelis she thought would read the book. “That is the million-dollar question,” she answered. “But I believe that if you start to drip water on a stone, it digs into its surface and leaves a mark. 'Amputated Tongue' is the first rain that will drip onto the Israeli stone and dig into it deeper and deeper.”