Lately the Christian-Muslim relations in Egypt have become the subject of commercial Egyptian cinema with movies like ‘Hasan and Morqos’ (2008), ‘Baheb el Cima’ (2004), of TV serials like ‘Season of Roses’ (2000), and of a documentary at Al-Jazeera about Copts in Egypt (2006). Also, the Coptic-Orthodox Church stands behind a media production within the Church with a professional production of films about the historical saints and martyrs of the Church and with an amateur production of local videos. Thus, pluralism in representations seems to flourish in the new millennium with the purpose on one hand to promote inclusion and tolerance and on the other to promote a Coptic counter public. However, very often these mediated representations have resulted in public or legal protests or restrictions, constructing the Egyptian field of representation as a field of struggle or what Samia Mehrez (2010) defines as a culture war. In order to explore this field of representation this paper suggests as an analytical starting point the concept of ‘situated representations’ referring to different levels of situatedness: Firstly, the representation is spatial defined (locally by the Church, nationally by the Egyptian cinema, and globally by the satellite channel) and thus situated in as well as defining different publics. Secondly, “[…] representation cannot exist outside the contexts of its reception”, as phrased by Eugenia Siapera (2010), situating the mediated representation in the context(s) of reception and consumption to be able to understand its meanings. As far as representations have the potential to produce sameness as well as difference, it is these differential representations that feed the struggle. By comparing different levels of situatedness in different kinds of media representations of Christian-Muslim relations in Egypt, the paper will demonstrate how the constructions of difference and receptions hereof are deeply embedded in the specific situatedness of the representation.