“Surviving” to Thriving Muslim Women On-Screen Test Phone What TV Series, Episode, or Film are you rating? * Identify if the film includes a Muslim character or storyline and check if it also includes one or more prominent Muslim women characters. * A Muslim woman character, identified by verbal or non-verbal cues; Who is shown prominently on screen. Rep REP Harmful Portrayals Select all that apply - Does the show or film portray a Muslim woman that is: Harmful Portrayals 𝐎𝐩𝐩𝐫𝐞𝐬𝐬𝐞𝐝 | A Muslim woman is shown as oppressed by, subservient, and/or obedient to a man. 𝐑𝐞𝐣𝐞𝐜𝐭𝐬 𝐈𝐝𝐞𝐧𝐭𝐢𝐭𝐲 | A Muslim woman who is shown to simply reject her identity or religion as her *only* storyline. 𝐌𝐨𝐧𝐨𝐥𝐢𝐭𝐡𝐢𝐜 𝐌𝐮𝐬𝐥𝐢𝐦𝐬 | A Muslim woman is shown only being from one race, ethnic group, sect, geographic region of the world, or hijab style (e.g. Muslim women are only Middle Eastern or Arab). Muslim women are usually shown as monolithic, despite the diversity of Muslim women’s realities. 𝐎𝐭𝐡𝐞𝐫𝐞𝐝 | A Muslim woman is depicted as “other,” or “foreign,” from non-Muslim characters around her. Common devices for showing Muslim women as “othered” are language barriers (e.g. speaks with a strong accent or uses broken English as device for “foreignness”) and customs that are shown as unnatural or strange. 𝐎𝐛𝐣𝐞𝐜𝐭𝐢𝐟𝐢𝐞𝐝 | A Muslim woman is used as either a mysterious, hypersexualized or virginal reward/goal for a man or other entity in the episode/film. 𝐏𝐫𝐢𝐦𝐢𝐭𝐢𝐯𝐞 | A Muslim woman is shown as being primitive, backward, or otherwise out of touch with modern society (e.g. lacking modern technology, wearing outdated clothes, intolerant of other’s ideas, Muslims only being placed in historic times or portrayed as barbaric). 𝐂𝐨𝐧𝐧𝐞𝐜𝐭𝐞𝐝 𝐭𝐨 𝐓𝐞𝐫𝐫𝐨𝐫𝐢𝐬𝐦 | Storylines that connect Muslim women to terrorism are harmful and perpetuate false and dangerous stereotypes. Scoring Score: Nuanced Portrayals Select all that apply - Does the show or film portray a Muslim woman that is: Nuanced Portrayals 𝐋𝐞𝐚𝐝 𝐑𝐨𝐥𝐞 | A Muslim woman is portrayed as the lead or co-lead of the film/episode (e.g. the main plot revolves around her character). 𝐕𝐚𝐫𝐲𝐢𝐧𝐠 𝐀𝐩𝐩𝐫𝐨𝐚𝐜𝐡𝐞𝐬 𝐭𝐨 𝐌𝐮𝐬𝐥𝐢𝐦 𝐈𝐝𝐞𝐧𝐭𝐢𝐭𝐲 | A Muslim woman whose identity or storyline is not defined solely by her relationship to Islam (i.e. total rejection or total acceptance). Instead, her character is allowed space to explore and accept herself for who she is. If she chooses, she could own her identity and traditions proudly (e.g. chooses to keep her hijab on, embraces Muslim traditions), instead of always portrayed as in opposition. And if she chooses to question parts of herself, it is not done to further a non-Muslim person’s storyline. 𝐈𝐧𝐭𝐞𝐫𝐬𝐞𝐜𝐭𝐢𝐨𝐧𝐚𝐥𝐢𝐭𝐲 𝐨𝐟 𝐈𝐬𝐥𝐚𝐦 | The intersectionality of Muslim women is shown (e.g. Black Muslim women, disabled Muslim women, queer Muslim women, Non-hijabi Muslim woman, Uyghur Muslim women, etc.). 𝐈𝐧𝐭𝐞𝐠𝐫𝐚𝐥 𝐭𝐨 𝐂𝐨𝐦𝐦𝐮𝐧𝐢𝐭𝐲 | A Muslim woman is shown as an integral part of her residential community, not being separated by the fact that she is Muslim (e.g. showing that a Muslim woman can exist as both Muslim and American, she belongs to both equally). 𝐋𝐞𝐚𝐝𝐞𝐫 | A Muslim woman shown with the ability to “lead,” influence, or guide other individuals, families, and/or organizations. She may, or may not, occupy a formal leadership position (e.g. Senator, CEO). 𝐉𝐨𝐲 | A Muslim woman is allowed the space to experience joy (e.g. in herself, her surroundings, her friends, her family, her faith and her life). For marginalized communities in the media that are often shown as being oppressed, experiencing tragedy, and escaping trauma, expressing joy is an act of resistance. 𝐌𝐮𝐬𝐥𝐢𝐦𝐚𝐡 𝐢𝐧 𝐌𝐨𝐭𝐢𝐨𝐧 | A Muslim woman is shown in various spaces (e.g. hiking, scuba diving, at a concert, on vacation) and not limited to being solely inside the home. ⭐ Bonus Point ⭐ 𝐁𝐞𝐡𝐢𝐧𝐝 𝐭𝐡𝐞 𝐒𝐜𝐞𝐧𝐞𝐬 | Did this production have a Muslim woman/women on staff as a writer, director, producer, showrunner, etc.? Optional: Leave Your Email Address for More Resources For more information contact info@macasting.com or visit macasting.com To download the full report, click here.
