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images of people associated with religion typically represent “widely shared level(s) of popular cultural expressions of religious attitudes that are safe neutral, and often used because of their immediate visual qualities” (Religion on Television, 33). These religious representations also serve to support neo-colonialism since they “frequently ritualize the values, beliefs,” in Schultze’s words, “and even the sensibilities of a people” (Television Drama as Sacred Text, 5). Moroccan religion or Islam in general has been the victim of representations that pre-date the movies’ dual purposes of religious loathe and economic exploitation. In this conjunction, Rose elaborates:

There are Muslims who are of different origins, while most, like the majority of Palestinians, are Arabs, the followers of Muhammed are found in parts of the world. There is the dominant religion in such non-Arab states as Bosnia, Turkey, Iran, Pakistan, Malaysia, and Indonesia. (They and We: Racial and Ethnic Relations in the United States, 58)

However, in the films under study, the Moroccan Muslims are often depicted as dark Arabs and nomadic heathens because black becomes the colour of the devil and demons. While watching the movies, the majority of Moroccans remain cinematically either part of the movie backdrop or totally invisible. In addition to this stereotypical account, another representative feature that portrays Moroccans in the Anglo-American cinema is that they are doubly misrepresented as Arabs and Africans. Hoberman concurs that the misrepresentation of the Other in general has achieved a state that “had surely blistered the paint and the chrome of the American dream machine. Why should anyone want the facts? Shared fantasies are what hold a people together” (Vulgar Modernism, 328).

Within this religious representation, Moroccans could not escape the Hollywood machine through its films about Morocco, mainly The Five Fingers, which depicted Morocco as a place of terrorist groups and “savage terrorists.” What makes this religious representation very perilous is the audience who take things presented through the motion picture for granted may be throughout their lives. In a study conducted by Schaefer, the American sociologist, about school children who watched D.W. Griffith’s Birth of a Nation, he found that “watching the movie made them more favourably inclined towards blacks for five months when children were retested” (Racial and Ethnic Groups, 80). So if school children could not forget the image of blacks presented in The Birth of a Nation, how adults of world audience could overlook the Moroccan image in Babel, Five Fingers, Casablanca, etc., especially if we consider that most people take images as truth based. The audience gameness to believe whatever images they see in the movies is clearly explained by Contreras in Practical Consideration for Living and Working in Contexts of Diversity:

Most individuals are quite capable of forming opinions without adequate prior-knowledge, thus forming a prejudgement either for or against a group, idea, or person. For example, after learning about the bombing of本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。