There are 49 Muslim-majority countries in the world and Islam is the world's second largest religion. Yet many in the West are misinformed about Islam and Muslim worldviews. Issues related to gender norms are especially subject to misconceptions. This filmography analyzes gender issues in 56 feature films from Afghanistan, Algeria, Bangladesh, Egypt, Iran, Iraq, Pakistan and Turkey, with a focus on religious, legal and patriarchal legitimization of practices such as female genital mutilation, child marriage, virginity testing, public sexual harassment and molestation, and honor killings.

There are 49 Muslim-majority countries in the world and Islam is the world's second largest religion. Yet many in the West are misinformed about Islam and Muslim worldviews. Issues related to gender norms are especially subject to misconceptions. This filmography analyzes gender issues in 56 feature films from Afghanistan, Algeria, Bangladesh, Egypt, Iran, Iraq, Pakistan and Turkey, with a focus on religious, legal and patriarchal legitimization of practices such as female genital mutilation, child marriage, virginity testing, public sexual harassment and molestation, and honor killings.

The first book to examine the troubled relationships between women, Islam and cinema.

The patriarchal structure of the Nation of Islam (NOI) promised black women the prospect of finding a provider and a protector among the organization's men, who were fiercely committed to these masculine roles. Black women's experience in the NOI, however, has largely remained on the periphery of scholarship. Here, Ula Taylor documents their struggle to escape the devaluation of black womanhood while also clinging to the empowering promises of patriarchy. Taylor shows how, despite being relegated to a lifestyle that did not encourage working outside of the home, NOI women found freedom in being able to bypass the degrading experiences connected to labor performed largely by working-class black women and in raising and educating their children in racially affirming environments. Telling the stories of women like Clara Poole (wife of Elijah Muhammad) and Burnsteen Sharrieff (secretary to W. D. Fard, founder of the Allah Temple of Islam), Taylor offers a compelling narrative that explains how their decision to join a homegrown, male-controlled Islamic movement was a complicated act of self-preservation and self-love in Jim Crow America.

Introduction -- Chapter 1: Gender and Violence in the Middle East and North Africa: Negotiating with Patriarchal States and Islamism / Zahia Smail Salhi -- Chapter 2: Gender-based Violence in the Middle East and North Africa: A Ubiquitous Phenomenon / David Ghanim -- Chapter 3: Women and Violence in the Light of an Islamic Normative Ethical Theory / Mariam al-Attar -- Chapter 4: Struggle against Male Violence with an Egalitarian Jurisprudence and Islamic Government: The Case of Secular Turkey / Canan Aslan-Akman and Fatma Tütüncü -- Chapter 5: Working in a Hostile Environment: Female Labour Segregation and Women's Impediments to Private Sector Opportunities in Jordan / Claudia Corsi -- Chapter 6: Violence against Underage Girl Domestic Workers in Morocco / Moha Ennaji -- Chapter 7: Gender and Violence in Egypt: Prevalence and Factors Exposing Women to Risk of Spousal Violence in Alexandria / Heba Mamdouh and Ibrahim Kharboush -- Chapter 8: Female Genital Mutilation between Culture and Religion: The Case of Egypt / Hiam Salaheldin Elgousi -- Chapter 9: The Insidious Violence: A Study of Husband-Wife Power Relations in the Algerian Context / Fatma Zohra Mebtouche Nedjai -- Chapter 10: Gender Expletives and Verbal Abuse: A Tunisian Case / Raoudha Kammoun -- Chapter 11: Gender and Language Discrimination in EFL Textbooks: Female Invisibility as a Form of Gender based Violence / Souryana Yassine.

As a result of the uprisings that spread across the Middle East and North Africa in late 2010 and 2011, the issue of state public violence against both men and women dominated the headlines. But gender-based violence, in both its public and private forms, has for the most part remained unnoticed and is often ignored. The forms that this kind of violence can take are influenced by cultural norms and religious beliefs, as well as economic and political circumstances. In 'Gender and Violence in Islamic Societies', violence is perceived not only as physical harm, but includes various forms of violence directed at women because they are women. These include segregation in the workplace and limiting women's access to wealth, gender stereotyping in the media and education, verbal aggression and humiliation, control of women's finances and income, forced veiling, restricted access to education and health. Gender-based violence is thus analysed in its various forms and localities, encompassing both the public and private spheres: within the family, the general community,at work and in various state institutions. Here, Zahia Smail Salhi brings together a wide range of examples of gender-based violence across the Middle East and North Africa, from discrimination in the workplace in Jordan to the physical abuse of underage domestic workers in Morocco, and from psychological and verbal violence against women in Tunisia and Algeria to the practice of female genital mutilation in Egypt. The evidence demonstrates that the violence, far from being of universal character across the region, is instead diverse, in both its intensity and in the processes of addressing such violence.

In recent years there has been a remarkable surge in Iranian films expressing contentious issues which would otherwise be very difficult to discuss publicly inside the Islamic Republic of Iran - such as the role of clergy in Iranian society. Nacim Pak-Shiraz here highlights how many Iranian film directors concern themselves with the content of the religious and historical narratives of culture and society, sparking debate about the medium's compatibility or incongruity with religion and spirituality. She explores the various ways that Shi'i discourse emerges on screen, and offers groundbreaking insights into both the role of film in Iranian culture and society, and how it has become a medium for exploring what it means to be Iranian and Muslim after thirty years of Islamic rule. This is invaluable reading students and scholars of Film Studies and contemporary Iranian cinema, but also of the culture and identity of Iran more widely.