Negotiating Modernity and Islam in pre-1952 Egyptian Cinema

2020 ◽  
Vol 5 (1) ◽  
pp. 140
Author(s):  
Abdelfattah
Keyword(s):  
Egyptian Cinema

“I Have Ambition”: Muhammad Ramadan's Proletarian Masculinities in Postrevolution Egyptian Cinema

2020 ◽  
Vol 52 (2) ◽  
pp. 197-214
Author(s):  
Frances S. Hasso
Keyword(s):  
Middle Class ◽  
Close Reading ◽  
Story Line ◽  
Action Films ◽  
Egyptian Cinema

AbstractThis article provides a close reading of two popular Egyptian action films, al-Almani (The German, 2012), the first blockbuster since the 25 January 2011 revolution, and Qalb al-Asad (Lion heart, 2013), both starring Muhammad Ramadan as a socially produced proletarian “thug” figure. Made for Egyptian audiences, the films privilege entertainment over aesthetics or politics. However, they express distinct messages about violence, morality, and revolution that are shaped by their moments of postrevolutionary release. They present the police state in salutary yet ambivalent terms. They offer a rupture with prerevolutionary cinema by staging the failure of proletarian masculinities and femininities that rely on middle-class respectability in relation to sex, marriage, and work. Even as each film expresses traces of revolutionary upheaval and even nostalgia, cynicism rather than hopefulness dominates, especially in al-Almani, which conveys to the middle and upper classes the specter of an ever-present threat of masculine frustration. The form and content of Qalb al-Asad, by comparison, offer the option of reconciling opposing elements—an Egyptian story line with a less repressive conclusion if one chooses a path between revolutionary resistance and accepting defeat.

Tears of Love: Egyptian Cinema in Turkey (1938–1950)

2004 ◽  
Vol 30 ◽  
pp. 55-82 ◽  
Author(s):  
Ahmet Gürata
Keyword(s):  
Egyptian Cinema

When the movie [Domu' al-hubb (Tears of Love) (Turkish title: Aşkın Gözyaşları) (Muhammad Karim, 1936)] was first released in Istanbul's Şehzadebaşı district, the movie theatre's windows were broken and the traffic was jammed [because of the crowd]. The audience, who had not been able to watch any Turkish films for the last three years, loved this type of movie, which was not much different from those made by our theatre artists, and starring some Arab singers, and people wearing the fez and local dress (Özön 1962a, p. 760).

‘Dégage—We’re Filming!’

2014 ◽  
Vol 7 (3) ◽  
pp. 330-350
Author(s):  
Nabil Mouline
Keyword(s):  
Film Industry ◽  
The State ◽  
Historical Documents ◽  
Large Sample ◽  
The Creation ◽  
Egyptian Cinema ◽  
Sociopolitical Issues

The Egyptian film industry has gone through dramatic changes since the early 2000s. One tangible consequence of such changes was the production—whether intentional or not—of protest films that expressed opposition to prevailing viewpoints and sought to break the taboo on key sociopolitical issues. Not only do these films serve as historical documents reflecting the state of society, but they also proved to be efficient tools of soft influence and mobilization, and they contributed to the creation of a new dynamic that inspired people to take to the streets on 25 January 2011. Based on the analysis of a large sample of blockbuster films, this article sheds light on the roles played by Egyptian cinema between 2001 and 2011.

scholarly journals A Review of Woman's Image in the Egyptian Cinema

1970 ◽  
pp. 11-12
Author(s):  
Muna S. Al-Hadeedy
Keyword(s):  
National Development ◽  
International Level ◽  
Egyptian Cinema ◽  
The Masses

Woman and the cinema are two topics that have been frequently brought to light by sociology students and researchers during the last few years. The first, because of the increasing efforts made on an international level to secure her fuller participation in national development. The second, because of its growing importance as a means of entertainment, particularly among the masses.

The Creation of the Femme Fatale in Egyptian Cinema

2019 ◽  
Vol 15 (3) ◽  
pp. 307-329
Author(s):  
Carolina Bracco
Keyword(s):  
Public Sphere ◽  
Femme Fatale ◽  
Fallen Woman ◽  
The Public ◽  
Women's Participation ◽  
Good Woman ◽  
The Creation ◽  
The Public Sphere ◽  
Egyptian Cinema

Abstract The appearance of the character of a femme fatale in Egyptian cinema in the mid-1950s is deeply intertwined with the new social and moral imprint made by the Nasserist regime. At a time when women’s participation in the public sphere was regulated, the portrayal of the evil woman was intended to define how the good woman should behave as well as the terrible fate in store for those who dared to flout the limits. This evil woman was embodied in the character of the Oriental dancer who was to be seen, from that time on, as a fallen woman. This article aims to discuss the mutation of the character of the dancer from a bint al balad (lit. “girl of the country”) to a femme fatale by analyzing three films starring two icons of the time, Hind Rustum and Tahia Carioca.

Egyptian imaginaries of resistance: Cinematic remembrance of the Suez crisis

2021 ◽  
Vol 14 (2) ◽  
pp. 221-236 ◽  
Author(s):  
Ehab Galal
Keyword(s):  
Strong Connection ◽  
Suez Crisis ◽  
Egyptian Cinema ◽  
Port Said

Current politics in Egypt has revived the idea of a strong connection between the army, the Egyptian people and its leaders. This imaginary was introduced by Egyptian cinema about the time of the 1952 revolution. In the early days of national independence, the Suez crisis of 1956 in particular holds the symbols and images needed to create the set of semantics supporting this imaginary. Based on theories on national and postcolonial imaginaries, I analyse two Egyptian films on the Suez crisis: Port Said from 1957 and Maliqat al-Bihar (Giants of the Sea) from 1960 including shorter references to other films from the period. By examining the postcolonial semantics of these films, I identify three elements that together retell the Egyptian nation. First, the Suez crisis is pictured as eliminating the colonial enemies due to the actions of strong leaders. Second, a pan-Arab alliance is installed. Third, enemies from within are disconnected from the true Egyptian assessed by loyalty to the nation. The result is a strong imaginary of the correlation between the army, people and in particular its leaders.

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