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Egypt's film industry is the largest in the Middle East, with an output that spreads across the region and the world. In the run-up to and throughout the 2011 Revolution, a complex relationship formed between the industry and the people's uprising. Both a form of political expression and a documentation of historical events, 'revolutionary' film techniques have contributed to the cultural memory of 2011. At the same time, these films and their makers have been the target of increasing state control and intervention. Ahmed Ghazal, drawing upon his own background in film-making, looks at the way in which Egyptian film has shaped, and been shaped by, the events leading up to and beyond Egypt's 2011 revolution. Drawing on interviews with protagonists in the industry, analysis of films, and archival research, he analyses the critical issues affecting the political economy of the industry. He also explores the technological developments of independent productions and the cinematic themes of dictatorship, poverty, corruption and police brutality that have accompanied the people's calls for freedom - and the counterrevolution that has tried to suppress them.
Examining the concept of dignity, or karama in Arabic, this provides insights into protesters' motives in participating in the 2011 Egyptian revolution.
This book examines how film articulates countercultural flows in the context of the Egyptian Revolution. The book interrogates the gap between radical politics and radical aesthetics by analyzing counterculture as a form, drawing upon Egyptian films produced between 2010 and 2016. The work offers a definition of counterculture which liberates the term from its Western frame and establishes a theoretical concept of counterculture which is more globally redolent. The book opens a door for further research of the Arab Uprising, arguing for a new and topical model of rebellion and struggle, and sheds light on the interaction between cinema and the street as well as between cultural narratives and politics in the context of the 2011 Egyptian uprising. What is counterculture in the twenty-first century? What role does cinema play in this new notion of counterculture?
The first book offering an extensive analysis of literary and cinematic narratives dealing with the 1919 anti-colonial revolution in Egypt.
For too long Egypt's system of government was beholden to the interests of the elite in power, aided by the massive apparatus of the security state. Breaking point came on 25 January 2011. But several years after popular revolt enthralled a global audience, the struggle for democracy and basic freedoms are far from being won. Media, Revolution, and Politics in Egypt: The Story of an Uprising examines the political and media dynamic in pre-and post-revolution Egypt and what it could mean for the country's democratic transition. We follow events through the period leading up to the 2011 revolution, eighteen days of uprising, military rule, an elected president's year in office, and his ouster by the military. Activism has expanded freedoms of expression only to see those spaces contract with the resurrection of the police state. And with sharpening political divisions, the facts have become amorphous as ideological trends cling to their own narratives of truth.
As the Egyptian revolution unfolded throughout 2011 and the ensuing years, no one was better positioned to comment on it—and try to push it in productive directions—than best-selling novelist and political commentator Alaa Al-Aswany. For years a leading critic of the Mubarak regime, Al-Aswany used his weekly newspaper column for Al-Masry Al-Youm to propound the revolution’s ideals and to confront the increasingly troubled politics of its aftermath. This book presents, for the first time in English, all of Al-Aswany’s columns from the period, a comprehensive account of the turmoil of the post-revolutionary years, and a portrait of a country and a people in flux. Each column is presented along with a context-setting introduction, as well as notes and a glossary, all designed to give non-Egyptian readers the background they need to understand the events and figures that Al-Aswany chronicles. The result is a definitive portrait of Egypt today—how it got here, and where it might be headed.
This book examines a key question through the lens of popular culture: Why did the Egyptian people opt to elect in June 2014 a new president (Abdel Fattah al-Sisi), who hails from the military establishment, after toppling a previous military dictator (Hosni Mubarak) with the breakout of the 25 January 2011 Revolution? In order to dissect this question, the author considers the complexity of the relationship between the Egyptian people and their national army, and how popular cultural products play a pivotal role in reinforcing or subverting this relationship. The author takes the reader on a ‘journey’ through crucial historical and political events in Egypt whilst focusing on multi-layered representations of the ‘military figure’ (the military leader, the heroic soldier, the freedom fighter, the conscript, the martyred soldier, and the Intelligence officer) in a wide range of popular works in literature, film, song, TV drama series, and graffiti art. Mostafa argues that the realm of popular culture in Egypt serves as the ‘blood veins’ which feed the nation’s perception of its Armed Forces.
From the exaggerated emotions of 1930s Egyptian melodrama to the cryptic allegories of late 20th-century Palestinian cinema, Arab World Cinemas guides you through 28 Arabic-language feature films released between 1933 and 2021, including Muhammad Khan's 'Dreams of Hind and Camilia' (1989), Moufida Tlatli's 'Silences of the Palace' (1994) and Elia Suleiman's 'Divine Intervention' (2002). Written specially for students, the book is split into 3 parts: Egypt, North Africa and the eastern Arab world. Each part begins with an introductory essay that highlights the aesthetic and socio-historical trends and currents in the cinematic traditions particular to that region. Marle Hammond then dedicates individual chapters to a group of films from the highlighted region, interpreting their form and content through the lenses of cinematic technique and concepts drawn from various disciplines in the arts, humanities and social sciences.
Brilliantly introduced by Nezar Andary, this book is a work of creative nonfiction that approaches writing on film in a fresh and provocative way. It draws on academic, literary, and personal material to start a dialogue with the Egyptian filmmaker Shadi Abdel Salam’s The Mummy (1969), tracing the many meanings of Egypt’s postcolonial modernity and touching on Arab, Muslim, and ancient Egyptian identities through watching the film.
An examination of women′s political participation and engagement during and after the 2011 uprising in Egypt.