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A Lost Arab Hollywood: Female Representation in Pre-Revolutionary Contemporary Egyptian Cinema
A LOST ARAB HOLLYWOOD: FEMALE REPRESENTATION IN PRE-REVOLUTIONARY CONTEMPORARY EGYPTIAN CINEMA A Thesis Submitted to the Faculty of the Walsh School of Foreign Service of Georgetown University in partial fulfilment of the requirements for the degree of Bachelor of Science in Foreign Service By Yasmine Salam Washington, D.C. April 20, 2020 2 Foreword This project is dedicated to Mona, Mehry and Soha. Three Egyptian women whose stories will follow me wherever I go. As a child, I never watched Arabic films. Growing up in London to an Egyptian family meant I desperately craved to learn pop-culture references that were foreign to my ancestors. It didn’t feel ‘in’ to be different and as a teenager I struggled to reconcile two seemingly incompatible facets of my identity. Like many of the film characters in this study, I felt stuck at a crossroads between embracing modernity and respecting tradition. I unknowingly opted to be a non-critical consumer of European and American mass media at the expense of learning from the rich narratives emanating from my own region. My British secondary school’s curriculum was heavily Eurocentric and rarely explored the history of my people further than as tertiary figures of the past. That is not to say I rejected my cultural heritage upfront. Women in my family went to great lengths to share our intricate family history and values. My childhood was as much shaped by dinner-table conversations at my Nona’s apartment in Cairo and long summers at the Egyptian coast, as it was by my life in Europe. -
Faten Hamama and the 'Egyptian Difference' in Film Madamasr.Com January 20
Faten Hamama and the 'Egyptian difference' in film madamasr.com January 20 In 1963, Faten Hamama made her one and only Hollywood film. Entitled Cairo, the movie was a remake of The Asphalt Jungle, but refashioned in an Egyptian setting. In retrospect, there is little remarkable about the film but for Hamama’s appearance alongside stars such as George Sanders and Richard Johnson. Indeed, copies are extremely difficult to track down: Among the only ways to watch the movie is to catch one of the rare screenings scheduled by cable and satellite network Turner Classic Movies. However, Hamama’s foray into Hollywood is interesting by comparison with the films she was making in “the Hollywood on the Nile” at the time. The next year, one of the great classics of Hamama’s career, Al-Bab al-Maftuh (The Open Door), Henri Barakat’s adaptation of Latifa al-Zayyat’s novel, hit Egyptian screens. In stark contrast to Cairo, in which she played a relatively minor role, Hamama occupied the top of the bill for The Open Door, as was the case with practically all the films she was making by that time. One could hardly expect an Egyptian actress of the 1960s to catapult to Hollywood stardom in her first appearance before an English-speaking audience, although her husband Omar Sharif’s example no doubt weighed upon her. Rather, what I find interesting in setting 1963’s Cairo alongside 1964’s The Open Door is the way in which the Hollywood film marginalizes the principal woman among the film’s characters, while the Egyptian film sets that character well above all male counterparts. -
154 Features Features 155
154 Features Features 155 Van Leo from Turkey to Egypt By Martina Corgnati 156 Features The first photographic forays in the Middle East occurred within the Armenian community. In Egypt, legendary figures such as G. Lekegian, who arrived from Istanbul around 1880, kick-started an Armenian led monopoly over photography and the photographic business. Gradually, other photogra- phers began to populate the area around Lekegian’s Cairo studio, located near Opera Square, creating a small “special- ized” neighborhood in both the commercial and ethnic sense. Favored, perhaps, by historical familiarity with images and Christian religion’s acceptance of representational media; Armenians tended to pass on the trade, which at the time could only be learned through experience in the workshops. Due to this process, Armenian photographers were often quite experimental. Armand (Armenak Arzrouni, b. Erzurum 1901 – d. Cairo 1963), Archak, Tartan and Alban (the art name of Aram Arnavoudian, b. Istanbul 1883 – d. Cairo 1961), for example, who arrived in Cairo in the early twentieth century, were some of the first to try “creative” photographic tech- niques that played with variations in composition and points of view. The first photographer Van Leo met in Cairo was an Arme- nian artist called Varjabedian. Still a child, Van Leo regularly visited his provincial photography studio and, years later, Varjabedian would be the one to introduce him to the photog- raphy “temple” in Cairo. This was the name given to the area from Opera Square to Qasr al Nil Street where an abundance of photographic studios and foreign jewelers mingled with Leon (Leovan) Boyadjian, known in the art world as the Egyptian artistic aura. -
Arabic Films
Arabic Films Call # HQ1170 .A12 2007 DVD Catalog record http://library.ohio-state.edu/record=b6528747~S7 TITLE 3 times divorced / a film by Ibtisam Sahl Mara'ana a Women Make Movies release First Hand Films produced for The Second Authority for Television & Radio the New Israeli Foundation for Cinema & Film Gon Productions Ltd Synopsis Khitam, a Gaza-born Palestinian woman, was married off in an arranged match to an Israeli Palestinian, followed him to Israel and bore him six children. When her husband divorced her in absentia in the Sharia Muslim court and gained custody of the children, Khitam was left with nothing. She cannot contact her children, has no property and no citizenship. Although married to an Israeli, a draconian law passed in 2002 barring any Palestinian from gaining Israeli citizenship has made her an illegal resident there. Now she is out on a dual battle, the most crucial of her life: against the court which always rules in favor of the husband, and against the state in a last-ditch effort to gain citizenship and reunite with her children Format DVD format Call # DS119.76 .A18 2008 DVD Catalog record http://library.ohio-state.edu/record=b6514808~S7 TITLE 9 star hotel / Eden Productions Synopsis A look at some of the many Palestinians who illegally cross the border into Israel, and how they share their food, belongings, and stories, as well as a fear of the soldiers and police Format DVD format Call # PN1997 .A127 2000z DVD Catalog record http://library.ohio-state.edu/record=b6482369~S7 TITLE 24 sāʻat ḥubb = 24 hours of love / Aflām al-Miṣrī tuqaddimu qiṣṣah wa-sīnāryū wa-ḥiwār, Fārūq Saʻīd افﻻم المرصي تقدم ؛ قصة وسيناريوا وحوار, فاروق سعيد ؛ / hours of love ساعة حب = ikhrāj, Aḥmad Fuʼād; 24 24 اخراج, احمد فؤاد Synopsis In this comedy three navy officers on a 24 hour pass go home to their wives, but since their wives doubt their loyalty instead of being welcomed they are ignored. -
Faten Hamama and Hind Rustom: Stars from Different Heavens
24 al-raida Issue 122 - 123 | Summer / Fall 2008 Faten Hamama and Hind Rustom: Stars from Different Heavens Jean Said Makdissi One of the current topics in critical discussions on the Arab cinema is the gendered nature of nationalist and national themes. It has been repeatedly said that in the Egyptian cinema, Egypt itself is often represented by an idealized woman. Both Viola Shafik (1998) and Lina Khatib (2006) make much of this idea, and investigate it with reference to particular films. In this context the idealizing title sayidat al-shasha al-arabiyya, (i.e. the lady of the Arab screen) has been universally granted to Faten Hamama, the grande dame of the Egyptian cinema and one of the most prolific of its actresses, and thus she is the ideal embodiment on the screen not only of Egyptian and Arab womanhood, but also of Egypt’s view of itself and of the Arab world. To study the output of Faten Hamama is to have an idea of how Egyptians – and perhaps all Arabs – like to see themselves, and especially their women. But to arrive at a clearer idea of the self-definition of the Arab world and its fantasy of the feminine ideal I believe it would be helpful to contrast her work with that of Hind Rustom, who both in her physical appearance and the persona she represents on screen is almost directly antithetical to Faten. In preparation for this article I have seen more than two dozen films, and of course drawn on decades of experience with the Egyptian cinema. -
David Lean: DR. ZHIVAGO (1965, 197 Min.)
March 12, 2019 (XXXVIII:7) David Lean: DR. ZHIVAGO (1965, 197 min.) DIRECTOR David Lean WRITING Robert Bolt screenplay adapted from the Boris Pasternak novel PRODUCER Carlo Ponti MUSIC Maurice Jarre CINEMATOGRAPHY Freddie Young EDITING Norman Savage PRODUCTION DESIGN John Box ART DIRECTION Terence Marsh SET DECORATION Dario Simoni COSTUME DESIGN Phyllis Dalton The film permeated the 1966 Academy Awards, winning Oscars for Best Writing, Screenplay Based on Material from Another Medium (Robert Bolt), Best Cinematography, Color (Freddie Young), Best Art Direction-Set Decoration, Color (John Box, Terence Marsh, and Dario Simoni), Best Costume Design, Color (Phyllis Dalton), and Best Music, Score (Maurice Jarre). The Mark Eden...Engineer at Dam film also received Oscar nominations for Best Picture (Carlo Erik Chitty...Old Soldier Ponti), Best Actor in a Supporting Role (Tom Courtenay), Best Roger Maxwell...Beef-Faced Colonel Director (David Lean), Best Sound (A.W. Watkins, Franklin Wolf Frees...Delegate Milton), and Best Film Editing (Norman Savage). The film was Gwen Nelson...Female Janitor also nominated for the Cannes Palm d’Or. Lucy Westmore...Katya Lili Muráti...The Train Jumper (as Lili Murati) CAST Peter Madden...Political Officer Omar Sharif...Yuri Julie Christie...Lara DAVID LEAN (b. March 25, 1908 in Croydon, Surrey, England, Geraldine Chaplin...Tonya UK—d. April 16, 1991 (age 83) in London, England, UK) was Rod Steiger...Komarovsky an English film director (19 credits), producer, screenwriter (10 Alec Guinness...Yevgraf credits) -
UC Santa Cruz UC Santa Cruz Previously Published Works
UC Santa Cruz UC Santa Cruz Previously Published Works Title “Of Marabouts, Acrobats, and Auteurs: Framing the Global Popular in Moumen Smihi’s World Cinema.” Permalink https://escholarship.org/uc/item/1r86d1c5 Author Limbrick, Peter Publication Date 2021 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FINAL ACCEPTED MANUSCRIPT, FORTHCOMING IN CULTURAL CRITIQUE, 2021 “Of Marabouts, Acrobats, and Auteurs: Framing the Global Popular in Moumen Smihi’s World Cinema.” Peter Limbrick, Film and Digital Media, University of California, Santa Cruz One of the critical commonplaces in the study of Arab cinemas is the idea that we can distinguish between Egyptian cinema, a dominant popular and industrial cinema akin to Hollywood, and smaller national or regional cinemas (Palestinian, Tunisian, Algerian, Moroccan) which are typically discussed as auteur or art cinemas. While historically defensible, in that Egypt preceded these others in having its own studios and industry, such an assessment nonetheless tends to foreclose on the possibilities for those films inhabiting the “non-Egyptian” model ever be accorded the status of popular cinema. Moreover, where local distribution and exhibition for North African films has been historically partial or non-existent (due to commercial decisions that have historically favored Egyptian, Indian, and Euro-American productions), it has been difficult for many directors in countries like Morocco to avoid the charge that their films—which are often more visible in European festivals than at home—are made for other markets or audiences. Whether in sympathy with the idea of distinctive local or national cinemas and resistance to cultural hegemony, or in suspicion of the politics of international funding and coproduction, many critical treatments of non-Egyptian Arab films make of the popular an evaluative term that signifies local authenticity and a resistance towards European art cinema tendencies and that privileges commercial success over experimentation. -
Rebranding Cairo's Downtown Cinemas
JOURNAL OF ENGINEERING AND APPLIED SCIENCE, VOL. 66, NO. 3, JUNE 2019, PP. 329-353 FACULTY OF ENGINEERING, CAIRO UNIVERSITY REBRANDING CAIRO’S DOWNTOWN CINEMAS: CAN PERFORMANCES RESURRECT ABUNDANT HERITAGE? 1 S. S. ASHOUR ABSTRACT Cairo’s Downtown cinemas were once masterpieces of architecture, screening golden age movies plus witnessing important events. Nowadays, few are still working, while many are ready to be demolished. The best conservation for historic buildings is managing change caused by time. One way to make this happen is smart engaging re- use, thus continue to retain value to current and future generations. Local government and private companies have tried to resuscitate Cairo’s silver screens. This revitalization started with simple face lifting, then developed to rebranding with creative re-use introducing new functions. A key to this creative re-use is across disciplines; new forms of art, music, and media performances. This paper aims to explore four re-use performances bringing the insight of art and media into the field of heritage management. First, “Nassim El Raqs” organized “When dance meets heritage” in Theatre Cinema Eldorado. Second, Radio Theatre re-used to host live- shows; “Al-Bernameg” and “AblaFahita”. Third, Zawya - located in cinema Odeon - launched as the first art-house cinema in Egypt. Last, Teatro Independent Theatre opened their interactive performance “The Metamorphosis” at cinema Elkahira. This paper ends with a framework for rebranding cinemas; comprises both the challenges facing the re-use and proposing community-oriented marketing strategy. KEYWORDS: Cairo’s Downtown, Re-use, Rebranding, Performance, Media. 1. THE OPENING SCENE; FROM THE GLORY OF THE PAST TO THE DETORIERATION OF THE PRESENT Cairo’s Downtown cinemas were once masterpieces of architecture, screening golden age movies from around the world plus witnessing important historical events. -
The National Imaginarium-PART1 DH 11-05-2021.Indd 3 11/05/2021 9:04 AM Contents
The A History National of Egyptian Imaginarium Filmmaking Magdy Mounir El-Shammaa The American University in Cairo Press Cairo New York El-Shammaa, The National Imaginarium-PART1 DH 11-05-2021.indd 3 11/05/2021 9:04 AM Contents List of Tables and Figures ix Acknowledgments xiii Prologue: The National Imaginarium xv 1. Early Egyptian Filmmaking: Reel vs. Real 1 Colonial Cosmopolitanism and Egyptian Film Histories 1 Behind the Silent Scenes 10 The Impact of Sound 13 Studio Mizrahi: Sharikat al-Aflam al-Misriya (The Egyptian Film Company) 16 On the Silver Screen 18 The Twilight of Colonial Cosmopolitanism 22 Toward the Construction of a Populist National Identity 25 2. Realism, Modernism, and Populism in Revolutionary Times 31 Cinema, Memory, and History 31 Awlad al-balad and the Effendis: Definitions and Redefinitions 40 Nasserism, “Realism,” and Salah Abu Seif 43 Culture and Hegemony 58 3. Reading A Woman’s Youth: Gender, Patriarchy, and Modernism 61 Shabab imra'a (A woman's youth), 1956 63 4. The Revolution’s Children: Gender, Generation, and the “New” Patriarchy 77 The Children Are Watching 80 vii El-Shammaa, The National Imaginarium-PART1 DH 11-05-2021.indd 7 11/05/2021 9:04 AM Feminism, Revolution, and the “New” Patriarchy 86 Nationalized Film Production: The Golden Age and State Feminism 91 5. Behind the Silver Screen: Market, Artist, and State in the Production of Culture 99 Reconstructing Filmmaking in the 1950s 101 The Film Industry and Nasser’s Egypt 119 Politics and the Public Sector 123 Nationalizing Culture: The State Film Industry 126 6. -
Mahmoud Yassin, Star of Egypt's Golden Age of Cinema, Dies Aged 79
Friday 21 Lifestyle | Music & Movies Friday, October 16, 2020 Mahmoud Yassin, star of Egypt’s golden age of cinema, dies aged 79 conic actor Mahmoud Yassin, one of the and television, particularly during the 1960s, some of his brain arteries which affected his stars of Egypt’s golden age of cinema, has 1970s, and 1980s. These included the films memory, speech, and movement and had led to Idied aged 79. A pillar of the country’s film “The Thin Thread” with Faten Hamama, “A his Alzheimer’s disease. industry during the second half of the 20th Nose and Three Eyes” with Magda Al-Sabahi, She said that the last thing he had remem- century, Yassin was involved in more than 250 “Bottom of the City” with Nadia Lutfi, “Mawlid bered was the death of his colleague artist productions over a period of four decades. Ya Dunya” with singer Afaf Rady, and “Re- Nour El-Sherif in 2015. Yassin was born in Port Yassin’s son and artist, Amr, on Wednesday member Me” with Naglaa Fathi. Among his Said in 1941 and was attached to the theater posted a picture of his father on Facebook, and most notable cinematic works was the movie through the preparatory stage at the Theater said: “He passed away, to the mercy of God, the “The Bullet is Still in My Pocket,” which told Club in the city. His dream at that time was to father of the artist Mahmoud Yassin. I ask for stories from the 1973 Arab-Israeli October appear on stage at the National Theater. -
Lebenslinien
02/2020 KINO KULTUR HAUS WEIBLICH & WIDERSTÄNDIG FILMAUTORINNEN IM EUROPA DER 60ER- UND 70ER-JAHRE YOUSSEF CHAHINE | KÄTHE KRATZ INHALT 06 36 58 24 INHALT AUSSTELLUNG VORANKÜNDIGUNG: KINO WELT WIEN | AB 5.3. 04 RETROSPEKTIVEN WEIBLICH & WIDERSTÄNDIG | 7.2.–3.3. 06 YOUSSEF CHAHINE | 13.2.–28.2. 24 KÄTHE KRATZ | 20.2.–4.3. 36 KINOSTART DIE MELANCHOLIE DER MILLIONÄRE | 6.2.–4.3. 48 REIHEN KINDER KINO KLASSIKER | 8.2.–1.3. 50 LIVING COLLECTION | 10.2. 52 SECOND LIFE | 11.2.–3.3. 54 JÜDISCHER FILMCLUB WIEN | 12.2. 56 WILD FRIDAY NIGHT | 14.2. 58 SPECIALS FILMFRÜHSTÜCK | 9.2. 60 ALBERT MEISL | 4.3. 62 SATYR FILMWELT 64 CLUB 67 SPIELPLAN 68 PROGRAMM 6.2.–4.3.2020 EDITORIAL ie 1960er- und 1970er-Jahre: Zeiten des Aufbruchs, Umbruchs, der kleinen und großen Revolutionen auf den D Straßen, und natürlich auch im Kino. Wellen der Erneuerung schwappten durch Europas Filmlandschaften. Doch neben den Godards, Truffauts, Fassbinders und Kluges war hier – weiblich und widerständig – auch eine junge Generation von Autorinnen am Werk, die sich gesellschaftlichen Konventionen ebenso widersetzte wie männ lichen Wahrnehmungsweisen und Machtstrukturen. Wir holen die – in ihrer Gesamtheit bis- her kaum beachteten – Filmpionierinnen aus dem Schatten ihrer berühmten Kollegen und widmen Varda, Chytilová, Mészáros & Co die erste Retro spektive im Februar. Eine Fort- setzung quasi in österreichischer Fassung bilden die Arbeiten von Käthe Kratz, einer weiteren Vorkämpferin hinter der Kamera, die ihrerseits die Genera tionen prägte. Und auch er sprengte mit seinen Filmen Regeln, brach Tabus, trat Widerständen und Zensur zum Trotz für Toleranz und Welt- offenheit in seiner Heimat ein. -
Films Documentaires Captations De Spectacles Films De Fiction CD De Musique
Films documentaires Captations de spectacles Films de fiction CD de musique SOMMAIRE LES DIVAS A L'IMA , , , /5/ GENERALITES /6/ ASMAHAN /8/ CHEIKHA RABIA /9/ CHEIKHA REMITTI /Io/ CHERIFA /12/ DALIDA /13/ FATEN HAMAMA /14/ FAYROUZ /16/ HABIBA MESSIKA /18/ MAJIDA EL ROUMI /19/ MALOUMA /20/ NADIA LUTFI /21/ OUM KALTHOUM /22/ REINETTE L'ORANAISE /28/ SAMIAGAMAL /29/ SHADIA /31/ SOUAD HOSNI /32/ WARDA /33/ LES DIVAS A L'IMA Une histoire d'amour qui dure ... Les Divas du monde arabe sont depuis longtemps au centre de nombreuses activités culturelles à l'Institut du monde arabe. Pour les grandes dames d'Egypte, les manifestations les plus emblématiques sont certainement les magnifiques expositions« Egypte: cent ans de cinéma» en 1996, et« Oum Kalsoum: la quatrième pyramide » en 2008. Chaque grande exposition donnant lieu à de nombreux spectacles, cycles cinématographiques, conférences et autres animations, comme« Lumières d'Egypte », « Etoiles du Nil », « L'Egypte chante et danse» ... D'autres Divas ont été célébrées lors de concerts-hommages et par l'édition de disques: « Hommage à Cheikha Remitti, le raï des racines » avec Cheikha Remitti en 2007, « Fairouziyyat: hommage à Fairouz » en 2007, « Hommage à Asmahan » en 2011, ou le récent « Hommage à Warda » en 2018. L'actuelle grande exposition « Divas » poursuit cette longue histoire. 151 Documentaire Paris : La Huit 2012 Programme regroupant deux documentaires. Si je te garde dans mes cheveux : Le film présente l'histoire de quatre musiciennes arabes rebelles, du Maroc, de la Tunisie, de Syrie et de Palestine. Avec Hadda Ou Akki, Amina Srarfi, Waed Bouhassoun et Kamilya Jubran. Hadda Ou Akki : Ce film est le portrait d'Hadda Ou Akki, une femme d'exception, une cheïkhat marocaine, représentante de la culture amazighe, aujourd'hui âgée de soixante ans, qui a toujours voulu chanter, qui a refusé de se marier et d'avoir des enfants, posant de ce fait des actes de rébellion inouïs dans la société traditionnelle qui était la sienne.