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1In February 2020,1 Bong Joon-ho’s film Parasite made history winning four Academy Awards, including best foreign picture and best picture, awarded for the first time to a non-Anglophone film. After Parasite’s game-changing success, the question of Orientalism in Hollywood has become more layered; perhaps, as Mubarak Altwaiji suggests, working toward the exclusion of countries from the map of the Orient and their inclusion in the imaginary perimeter of Western progress (see 313).2 Yet, as South Korean cinema makes its grand entrance into the persistently white halls of the Academy, Muslim countries remain underrepresented and Muslim characters continue to be heavily stereotyped. Altwaiji goes as far as suggesting that neo-Orientalism of the post 9/11 kind has triggered a re-evaluation of the classic Orient with the “Arab world” and its stereotyping as its center (314). Although film audiences and professionals are more vigilant than in the past—consider, for example, Joaquin Phoenix’s 2020 Oscar acceptance speech on whiteness in the Academy3—Orientalism, Islamophobia, and racist stereotyping continue to inform Hollywood’s dominant imagination in less conspicuous but equally insidious and “more enlightened,” meaning subtler, ways (Alsultany 15). In order t

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