Muslim female villains are shown as emotionless appendages of evil men

Evidence

In cases when a Muslim female appears as a villain, she is often under the control of malevolent men—Nazis, Arabs, or other irredeemable types. One example is found in the 1996 film The English Patient, when a Muslim nurse cuts off David Caravaggio’s fingers. She wears hijab, unlike most of the Arab women in the scene, shows no emotion when performing the amputation, and is immune to David’s pleas for mercy. Although she is not a monster, she is inhuman. — Sophia Rose Arjana, Muslims in the Western Imagination, 620

In cases when a Muslim female appears as a villain, she is often under the control of malevolent men—Nazis, Arabs, or other irredeemable types. One example is found in the 1996 film The English Patient, when a Muslim nurse cuts off David Caravaggio’s fingers. She wears hijab, unlike most of the Arab women in the scene, shows no emotion when performing the amputation, and is immune to David’s pleas for mercy. Although she is not a monster, she is inhuman. — Sophia Rose Arjana, Muslims in the Western Imagination, 620

Categorization

• XREF: Complements the monster catalog in the reader’s thesis — the female Muslim villain as ‘inhuman’ but not monster is a distinct sub-type of the projection.
• DEFINE: Adds a gendered boundary to the monster taxonomy: the female Muslim is rendered inhuman (emotionless, mercy-immune) rather than monstrous, and only as agent of controlling men.
• corroborated: 2 independent passages support this claim — Sophia Rose Arjana, Muslims in the Western Imagination, 620