Although the book is poorly rendered into English, Gertz and Khleifi offer an insightful look into Palestinian film and draw an important link between art and politics in Palestinian society, says Sonia Rosen.

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.

While somewhat limited in locating middle class youth within Iranian society, Varzi’s brilliant work interrogates the relationship between ethnography and processes of fictionalization, writes Jennifer Riggan.

The newest Persian language satellite network made a splash in the Iranian blogosphere when it began broadcasting in January. But just how far can the BBC go in the face of hostility from Tehran and without local bureaus, asks Contributing Editor Paul Cochrane.

How can the Obama Administration rebuild American public diplomacy in the Arab World? Engaging with regional media, reforming BBG Arabic broadcasting and reducing the military role would be a good start, argues Ambassador William A. Rugh.

Muhammad Gamal argues for more academic and professional attention to the audiovisual translation industry, which is proliferating everywhere from mobile phone screens to stadium megatrons.

Bettina Graf gets behind the scenes at Islamonline.net, one of the world’s most popular Islamic websites, giving an in-depth look at how the site creates and issues fatwas.

In an age of homogenized reporting, bloggers on both sides of the Iraq war are filling the void of personal coverage and challenging the narratives of war planners and mainstream media alike. Wayne Hunt traces this phenomenon with two case studies.

American television news has largely abandoned the Middle East. Can international outlets like Al Jazeera English pick up the slack? Publisher and Co-Editor Lawrence Pintak on coverage of the Gaza conflict.

Hamid Dabashi gives “blood and bone” to the lives and predicaments of Iran’s filmmakers. Yet his conceptions of “realism” seem to be surrogates for aesthetic judgments, argues Farouk Mitha.