Ramy Aly reviews and critiques this volume of articles edited by Tariq Sabry, calling it the most coherent attempt yet to “create a reflexive disciplinary self-consciousness” for the nascent field of Arab cultural studies. The book’s strength, he writes, lies in its “unapologetic diagnosis of the weaknesses” of current Arab media, communication and literary studies and its proposals for a way out of this disciplinary impasse.

Mark LeVine calls this volume, edited by Karin van Nieuwkerk, a tour de force of cultural analysis of the blossoming production of religiously oriented art, music, and theater in the Muslim world. The book, he writes, will "further the interdisciplinary development of Islamic studies, cultural studies, ethnomusicology and even, it is hoped, the usually drier disciplines such as political science or sociology, both of which could certainly use a bit more rhythm and color in their methodological repertoires in the wake of the region-wide protests and revolutions in which culture has played a powerful and as yet poorly understood role."

Shereen El Feki reviews Arab Television Industries by Marwan Kraidy and Joe F. Khalil, and Reality Television and Arab Politics: contention in public life, also by Marwan M. Kraidy

Aaron Wenner reviews (Un)Civil War of Words: Media and Politics in the Arab World by Mamoun Fandy, concluding that it is an interesting and timely argument for a more nuanced understanding of the political and social role of Arab media, but would be much stronger if it had more specific case studies, a clearer conception of its terms, and a more precise focus.

This volume is a welcome start to the long-overdue project of challenging stereotypes of the Gulf as a backward, tribal culture that has been overwhelmed by global cosmopolitanism, argues Reviews Editor Samer Abboud.

Some feared the 2008 novel The Jewel of Medina would create the fiercest backlash among Muslims since the Danish cartoon scandal. So why hasn’t it? Shereen El Feki looks at the politics surrounding the book’s publication.

Jabbar al-Obaidi’s typology of the region’s media is a valuable contribution, writes John Measor, but imprecise analysis and failure to engage with existing scholarship undermines the work as a whole.

Side-by-side renderings of Arabic articles and their English translations make the book useful for students and researchers, yet crude generalizations and culturalist arguments deflect from Kedar’s analytical contributions, argues Book Review Editor Samer Abboud.

Flagg Miller’s The Moral Resonance of Arab Media remains at a rarefied, theoretical level, but bears ample rewards for advanced students of Arabic literature, media studies, communication anthropology and public sphere studies, writes Zuzanna Olszewska.

“Shafik shows that cinema has enabled filmmakers and viewers to go through cathartic exercises to express dissatisfaction, grief, imaginary empowerment and solidarity, and argues that this artistic channel is especially important because Egypt lacks an adequate civil society,” writes Nesreen Khashan.