24, 2005 Beirut, Lebanon

Total Page:16

File Type:pdf, Size:1020Kb

24, 2005 Beirut, Lebanon November 17 - 24, 2005 Beirut, Lebanon A Project by Masha Rafka, Chaza Charafeddine and Christine Tohme The Lebanese Association for Plastic Arts, Ashkal Alwan Home Works III: A Forum on Cultural Practices Edited by Chaza Charafeddine, Masha Refka and Christine Tohme Translators: Mona Abu Rayyan, Bissan el Cheikh, Bassam Hajjar, Walid Sadek, Rasha Salti, Fadi Tufayli, Stephen Wright, Mary Yazbeck and Husni Zeini. Editors: Arabic: Yussef Bazzi and Chaza Charafeddine Copy editor: Muhammad Hamdan English: Mona Abu Rayyan, Samar Kanafani and Masha Refka Copy editors: Ghenwa Hayek, Mona Abu Rayyan Photographic documentation: Agop Kanledjian Design and artwork: Mind the gap Scanning and repro: Mind the gap Typography: Monotype Gill Sans Printing and binding: Dar al-Kotob Printing House, Lebanon, 2008 This book is published by the Lebanese Association for Plastic Arts, Ashkal Alwan Phoenicia Street, Saab Bldg., 4th Floor, Ain El-Mreisseh, Beirut, Lebanon P. O. Box 175-268, Mar Mikhael, Beirut, Lebanon Telefax: +961 1 360 251 E-mail: [email protected]/website: www.ashkalalwan.org All rights reserved. No part of this book may be reproduced or used in any form or by any means, electronic or mechanical including photocopying, recording or by any informa- tion storage retrieval system, without written permission of the publisher. All views expressed in this book are solely the opinions of the individual author and do not represent the opinions of Ashkal Alwan or its funders or partners. ISBN 978-9953-0-1186-8 The Lebanese Association for Plastic Arts, Ashkal Alwan Copyright © 2008 The Lebanese Association for Plastic Arts, Ashkal Alwan Texts copyright © 2005 The authors This book was published with the support of: Acknowledgments The Lebanese Association for Plastic Arts, Ashkal Alwan, would like to express its grati- tude to all those who participated in the Home Works III Forum and to all those who contributed to the making of this book. Forum participants: Maher Abi Samra, Mohammed Abi Samra, Fadi Abdallah, Zuhair al Jezairi, Omar Amiralay, Ayreen Anastas, Renaud Auguste-Dormeuil, Nadiah Bamadhaj, Yussef Bazzi, Abbas Beydoun, Tony Chakar, Nahla Chahal, Ali Cherri, Hassan Choubassi, Goran Devic, Dalal el Bizri, Hala Elkoussy, Fouad Elkoury, Hashem el Madani - the Arab Image Foundation, Rana el Nemr, Vlatko Gilic, Joana Hadji-Thomas, Ghassan Halwani, Kamal Hamdan, Natasa Ilic, Sanja Ivekovic, Islah Jad, Ahmad Khaled, Khalil Joreige, Amal Kenawy, Bilal Khbeiz, Steve Kurtz, Lynn Love, Cynthia Madansky, Reina Mahfouz, David Maljkovic, Nadim Mishlawi, The Visible Collective - Naeem Mohaiemen, Rabih Mroué, The Otolith Group (Anjalika Sagar and Kodwo Eshun), Maani Petgar, Walid Raad, Jacques Rancière, Mahmoud Refat, Wissam Saadeh, Walid Sadek, Hazem Saghieh, Suhail Shadoud, Shirana Shahbazi, Carol Squiers, Jalal Toufic, Nadine Touma, Raed Yassin, Akram Zaatari, Jasmila Zbanic and Yang Zhenzhong. We would like to thank: Mind the gap, Wael Jamaleddine and Dar al-Kotob, Hazem Saghieh and Fadi Toufiq. Other persons whose support was vital to the making of Home Works III were: Pierre Abi Saab, Georges Arbid, Yussef Bazzi, Abbas Beydoun, Sawsan Daou, Catherine David, Rana Eid, Gilbert Hage, Omar Harkous, Khalil Joreige, Naïla Kettaneh Kunigk, Moukhtar Kocache, Kirsten Maas, Anthony Richter, Andrée Sfeir-Semler, Ghassan Salhab, Talal Salman, Joseph Samaha, Lina Saneh, Nasrin Tabatabai, Fawaz Traboulsi, Umam Production D&R, Samar Wahab, Stephen Wright, Akram Zaatari and Layla Zubaidy. Home Works III was produced with the support of: Kettaneh Foundation Detail from Prière au Mont des Oliviers, by Fra Angelico (1395 – 1455) Detail from l’Institution de l’Eucharistie, by Fra Angelico (1395 – 1455) A face like many others; or the solitariness of seeing death. Walid Sadek Still from Michael Powell’s Peeping Tom (2006) Contents Introduction .......................................................................................................................................................................................................................................................................................... 13 Lectures Fatal Equality: Islamists and Istishhadiyyat, Islah Jad ......................................................................................................................................................................................... 16 A Memoir of Identities: I am of this World, Dalal el Bizri ......................................................................................................................................................................... 22 Normalisation and its Discontents, Natasa Ilic ......................................................................................................................................................................................................... 34 Some Paradoxes of Political Art, Jacques Rancière ............................................................................................................................................................................................. 44 Repression and the Information Boom, Zuhair al Jezairi ........................................................................................................................................................................... 58 Lebanon in Two Camps: A Partisan Fear of a Free Citizenry, Mohamad Abi Samra ...................................................................................... 64 Panels Whither Lebanon?, Hazem Saghieh, Wissam Saadeh, Nahla Chahal, Kamal Hamdan; Moderator: Bilal Khbeiz Introduction, Bilal Khbeiz ............................................................................................................................................................................................................................................................................ 78 Lebanon and the Many Returns of the Repressed, Hazem Saghieh ........................................................................................................................................ 80 After the Syrian Withdrawal, Whither our Lumpen-Democracy?, Wissam Saadeh ........................................................................................ 86 Lebanon: Compromise or a New Social Contract?, Nahla Chahal ........................................................................................................................................... 96 Whither Lebanon?, Kamal Hamdan........................................................................................................................................................................................................................................... 104 Pulling Focus: Art and Curatorial Practice Reconstruct Science, Carol Squiers, Steve Kurtz, Lynn Love Introduction, Lynn Love ............................................................................................................................................................................................................................................................................ 110 Science in Images: From Eugenics to Human Cloning, Carol Squiers ................................................................................................................................. 116 Crime, Art and the Life Sciences, Steve Kurtz/Critical Art Ensemble................................................................................................................................... 128 Performances Who’s Afraid of Representation?, Rabih Mroué .................................................................................................................................................................................................... 142 Give me a Body Then, Ali Cherri ................................................................................................................................................................................................................................................. 162 Berlin: The Symphony of a Big City – Live Electronics, Mahmoud Refat ....................................................................................................................... 174 I Feel a Great Desire to Meet the Masses Once Again, Walid Raad .................................................................................................................................. 178 Artist Talks Hyphenated Identities and the National Security Panic, Naeem Mohaiemen/Visible Collective ............................................... 204 Enamlima Sekarang (65 now)/Taking it Personally/Not Talking to a Brick Wall, Nadiah Bamadhaj ...................................... 212 Exhibitions Hôtels des Transmissions, Jusqu’à un Certain Point..., Renaud Auguste-Dormeuil ......................................................................................... 226 A Window to the World, Tony Chakar ............................................................................................................................................................................................................................... 230 Hashem el-Madani Studio Practices, An exhibition curated by Lisa Lefeuvre and Akram Zaatari............................................ 234 The Metro, Rana el Nemr .......................................................................................................................................................................................................................................................................
Recommended publications
  • SHARJAH FILM PLATFORM SCREENING SCHEDULE 19–26 January 2019
    SHARJAH FILM PLATFORM SCREENING SCHEDULE 19–26 January 2019 Programme 1 Friday, 18 January - 9:00 pm Mirage City Cinema Saturday, 26 January - 3:00 pm Sharjah Institute of Theatrical Arts Sharjah Film Platform annually awards Short Film Production Grants in support of film production in the UAE and internationally. Selected through an open call, this year’s grant winners are Abdulrahman Al Madani and Mohammed Al Hammadi, whose films Laymoon and Maryam, respectively, will be premiered at the festival. Al Madani and Al Hammadi will discuss their films after the screenings on opening night. Laymoon (2019) Director: Abdulrahman Al Madani United Arab Emirates Narrative | 16 min Arabic with English subtitles A neglected housewife’s constant attempts to regain her short-tempered husband’s interest in their marriage prove futile. Influenced by her best friend, she realises her efforts need to stretch beyond a wholesome meal. Abdulrahman Al Madani started making films in 2012, focusing particularly on social issues. His first documentary short, The Gamboo3a Revolution (2012), won awards from the Gulf Film Festival and the Abu Dhabi Film Festival, and he also directed the two short films Guilt (2013) and Nagafa (2014). He received a bachelor's degree in applied media studies from the Higher Colleges of Technology, Dubai (2014) and completed a one-year filmmaking diploma programme at the New York Film Academy Abu Dhabi (2015). His thesis film, Beshkara, received its world premiere at the Dubai International Film Festival the same year. Al Madani was born in 1992 in Dubai, where he currently lives and works. Maryam (2019) Director: Mohammed Al Hammadi United Arab Emirates Narrative | 22 min Arabic with English subtitles An ambitious young Emirati’s dream to pursue an acting career in New York is challenged by the sudden of her father and the opposition of her mother, who wants her to marry.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Neglected Masterpieces of Cinema
    Class, Race and Corporate Power Volume 3 Issue 1 Article 3 2015 Neglected Masterpieces of Cinema Louis Proyect [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/classracecorporatepower Part of the Film and Media Studies Commons, and the Political Science Commons Recommended Citation Proyect, Louis (2015) "Neglected Masterpieces of Cinema," Class, Race and Corporate Power: Vol. 3 : Iss. 1 , Article 3. DOI: 10.25148/CRCP.3.1.16092133 Available at: https://digitalcommons.fiu.edu/classracecorporatepower/vol3/iss1/3 This work is brought to you for free and open access by the College of Arts, Sciences & Education at FIU Digital Commons. It has been accepted for inclusion in Class, Race and Corporate Power by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Neglected Masterpieces of Cinema Abstract This article will acquaint you with ten of the more important leftwing films I have reviewed over the past sixteen years as a member of New York Film Critics Online. You will not see listed familiar works such as “The Battle of Algiers” but instead those that deserve wider attention, the proverbial neglected masterpieces. They originate from different countries and are available through Internet streaming, either freely from Youtube or through Netflix or Amazon rental. In several instances you will be referred to film club websites that like the films under discussion deserve wider attention since they are the counterparts to the small, independent theaters where such films get premiered. The country of origin, date and director will be identified next ot the title, followed by a summary of the film, and finally by its availability.
    [Show full text]
  • 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.
    [Show full text]
  • The History of Egyptian Cinema
    THE HISTORY OF EGYPTIAN CINEMA The first commercial movie in the world was a silent movie for The Lumière brothers. It was screened in December 1895 in the Indian saloon, Grand Café, Caposeen st. Paris. The films of the Lumière Brothers were screened in Egypt soon after their debut in Europe in 1896 at the prestigious cafés of Cairo, Alexandria and Port Said. This is how the Egyptian short documentary industry has started Feature films, on the other hand, haven’t existed till the year 1917 when an Italian Egyptian Production company produced two feature films: The Honor of the Bedouin (Charaf el badawî) and The Deadly Flowers (el Azhâr el momîtah). However, Historians cannot agree on setting a certain date for the beginning of the Egyptian cinema. Some say that the real start was the screening of the first Egyptian movie back in 1896. Others mark the beginning of the Egyptian Cinema with the shooting of the first short documentary silent movie in the 20th of June 1907 about the visit of Khedive Abbas Hilmi II to the Institute of Mursi Abul‐Abbas in Alexandria. In 1927, two of the most famous movies in the early history of the Egyptian cinema were produced and screened. The first film was called A Kiss in the Desert and the other was called Layla, starred by the first actress in the history of Egyptian Cinematography, Aziza Emir. Egypt’s first film with sound was The nobles’ sons starring legendary actors Youssef Wahba and Amina Rezk and produced in 1932. The same year witnessed the first musical film starring for the first time a female singer, Nadera.
    [Show full text]
  • Music & Movies Lifestyle
    12 Established 1961 Lifestyle Music & Movies Monday, August 31, 2020 This file picture shows a view of the historic Metro cinema theatre as a man A view of the landmark Miami cinema theatre along the commercial Talaat Harb walks past, along the commercial Talaat Harb street in the almost deserted city street in the city center of Egypt’s capital Cairo. — AFP photos center Egypt’s capital Cairo, on the first day of Eid Al-Fitr, the Muslim holiday which starts at the conclusion of the holy fasting month of Ramadan. This combination of pictures created on August 27, 2020 shows (top left to right) a 1930s portrait of prominent Egyptian theatre and cinema actor Youssef Wahbi (1898-1982); a 1940s portrait of prominent Egyptian (of Assyrian Iraqi extraction) theatre and cinema actor Naguib Al-Rihani (1887-1949); prominent Egyptian theatre and cinema actor Anwar Wagdi (1904-1955); (bottom left to right) a 1940s portrait of prominent Egyptian theatre and cinema actor Mahmoud Al-Meligui (1910-1983); a 1950s por- trait of prominent Egyptian theatre and cinema actor Kamal Al-Shennawi (1921-2011); and a 1950s photo of prominent Italian-Egyptian theatre gyptian cinemas are slowly reopening country’s vernacular. The Egyptian film industry million people, 40 percent of whom are on fixed and cinema actor Stefan Rosti (1891-1964). after months of lockdown, but the huge had its golden age in the mid 20th century when contracts. “We have been paying staff and Esector sometimes dubbed “the Hollywood screen star Omar Sharif, the actor Gamil Ratib crew members for months and we had zero of the Arab world” has taken a severe hit during and director Youssef Chahine achieved world income,” said Ramzy, who also manages a pro- the pandemic.
    [Show full text]
  • Egipatu Sećanju Srbije Egyptremembered by Serbia
    Egipat u sećanju srbije Egypt remembered by serbia MUZEJ AFRIČKE UMETNOSTI: Zbirka Vede i dr Zdravka Pečara THE MUSEUM OF AFRICAN ART: The Veda and Dr Zdravko Pečar Collection Izdavač Tekst Predgovora PUBLISHER Foreword by Muzej afričke umetnosti: Zbirka vede i dr zdravka Pečara emilia epštajn The Museum of african art: the veda and dr zdravko Pečar Collection leKTUra (srpski) za Izdavača ProoFreadINg (Serbian) AS PUBLISHER Miroslava ružić Narcisa Knežević-Šijan, v.d. direktora / acting director Prevod Na eNgleSKI eNglISH TraNSlaTIoN UredNIK IzdaNja Ivan epštajn (prevod autorskih tekstova) PUblICaTIoN edITor (translation of original articles) emilia epštajn branislav Mišković (prevod „Uvoda”, „Foto-arhiva Pečar” i „Hronologija”) (translation of “Foreword”, “The Pečar Photo-archive” reCeNzeNTI and “Chronology”) REVIEWERS leKTUra (engleski) dr vera vasiljević ProoFreadINg (english) dr Miroslava lukić-Krstanović dr ana Sladojević aleksandra Prodanović-bojović Nataša Njegovanović-ristić emilia epštajn aleksandar erdeljanović ana Sladojević graFIčKI dIzajN AutorI Tekstova graPHIC deSIgN orIgINal arTICleS by Ivana bunuševac Uroš Matić Milica Naumov FoTograFIje aleksandra Momčilović jovanović PHoTograPHS Narcisa Knežević-Šijan arhivske fotografije zbirke Pečar, foto zdravko Pečar aleksandar Maričić archival photographs from the Pečar collection by zdravko Pečar vladimir Popović (fotografije predmeta iz Muzeja istorije jugoslavije) HRONOLOGIJA (photographs of objects from the Museum of yugoslav History) CHRONOLOGY v. Ilić (fotografija: „Nesmin
    [Show full text]
  • Jadid 69 Final Printing Copy 2015.Indd
    ‘The Power of History: ‘A Day of Dignity: Karama with the ‘Sin, Redemption, and Vision of Reappropriating Syria’s Past,’ Blood of Innocents,’ a film review Female Illness in Modern Arab a review of ‘Among the Ruins: of ‘Karama Has No Walls,’ p. 14 Literature,’ a book review, p. 25 Syria Past and Present,’ p . 17 AL JADID A Review & Record of Arab Culture and Arts COPYRIGHT AL JADID www.ALJADID.com VOL. 19, No. 69 (2015) Rescuing Christianity in Syria! by Salam Kawakibi Shoman Collection Embraces Broad Spectrum th st of 20 to 21 Century Arab Artists by Doris Bittar When a Corpse Becomes an Icon for Syria’s Agony! by Elie Chalala Unmasking the Assad Regime by Bobby Gulshan Women of the Revolutions: The New Faces of Arab Feminism by Angele Ellis Tawfiq al-Hakim’s Foretelling of Future Young People’s Revolutions by Nada Ramadan Elnahla Whatever is Left of the Levantine Spirit? by Elie Chalala Novel Offers Travelogue Through Syrian Dystopia by D.W. Aossey A Balanced and Elegant Depiction: Contemporary Arabic Poetry by Zaid Shlah From Kansas to Beirut: A Tale of Two Women by Lynne Rogers ‘Encoded Walk: On Beaten Path in Hama’ (2015) by Doris Bittar Editor’s Notebook When a Corpse Becomes an Icon for Syria’s Agony and Abandonment! “For a moment I was in a state of disbelief, thinking a capsized boat. He didn’t know that his picture would sleep had overtaken him,” wrote Mr. Ghassan Charbel dominate TV screens and front pages” (The words quoted, about Aylan Kurdi, the Syrian toddler who died when a like all previous and subsequent quotes unless otherwise boat carrying Syrian migrants to the Greek island of Kos attributed, are from Mr.
    [Show full text]
  • The Images of Alcohol and Abstinence in Egyptian Films: a Content Analysis
    The American University in Cairo School of Global Affairs and Public Policy THE IMAGES OF ALCOHOL AND ABSTINENCE IN EGYPTIAN FILMS: A CONTENT ANALYSIS A Thesis Submitted to the Department of Journalism and Mass Communication in partial fulfillment of the requirements for the Master of Arts by Arpi Sarkis Khatcherian Bachelor of Arts, Journalism and Mass Communication, 2013, AUC Under the supervision of Dr. Naila Hamdy, January 2017 TABLE OF CONTENTS I. INTRODUCTION .................................................................................................................................. 1 A. Statement of the Problem ................................................................................................................. 6 II. HISTORICAL OVERVIEW ................................................................................................................ 8 A. Defining Alcohol ............................................................................................................................... 8 B. Historicizing Alcohol in the Middle East ....................................................................................... 8 C. Religious Views of Alcohol ............................................................................................................. 9 D. The Alcohol Industry in Egypt ...................................................................................................... 12 E. Alcohol in Egypt Today .................................................................................................................
    [Show full text]
  • Anti-Blackness in Egypt: Between Stereotypes and Ridicule an Examination on the History of Colorism and the Development of Anti
    Anti-blackness in Egypt: Between Stereotypes and Ridicule An Examination on the History of Colorism and the development of Anti-blackness in Egypt _________________ Master’s Thesis Presented to The Faculty of Arts, Psychology, and Theology at _________________ Submitted in partial fulfillment of the requirement for the degree of Master of Social Exclusion _________________ By Islam Bara’ah Sabry Åbo, Finland Name: Islam Bara’ah Sabry Student Number: 1902148 Subject: Social Exclusion Major: History Title of Work: Anti-blackness in Egypt: Between Stereotypes and Ridicule - An Examination on the History of Colorism and the development of Anti-blackness in Egypt Supervisor: Prof. Holger Weiss Abstract: This research recognizes the absence of a term that defines color prejudices and racial discrimination in the Arab world. Accordingly, this study proposes the notion of anti-blackness to examine color-based discrimination in Egypt. By identifying anti-blackness as part of a multilayered socio-cultural process, this research engages with the historical, social, and cultural factors that led to its development. This research also explores the implications of anti-blackness on black people living in Egypt. A sample of media is analyzed using the critical discourse analysis (CDC) method to observe the portrayal of black people in Egyptian media. This study concludes that the historical development of social stigma and cultural stereotypes around blackness has led to anti-blackness in Egyptian society. Keywords: Anti-blackness, Colorism, Media, Racist Humor, Blackface, Nubians, Refugees Date: 2-6-2021 Number of Pages: 66 (Excluding references) Anti-blackness in Egypt Islam Bara’ah Sabry To the voices unheard… iii Anti-blackness in Egypt Islam Bara’ah Sabry Table of Contents Map of Africa .…………………………………………………………………………………………….……..….
    [Show full text]
  • Youssef Chahine and the Creation of National Identity in Nasser's Egypt
    Africana Cultivating cultural change through cinema; Youssef Chahine and the creation of national identity in Nasser’s Egypt Barrie Wharton2 Egypt has long been considered by most commentators as the birthplace of Arab cinema and many of the seminal milestones in Arab cinematic history such as the shooting of the first full‐ length feature film, Layla (1928)3 took place along the banks of the Nile. The golden era of Egyptian cinema began in the late 2 Dr Barrie Wharton, from the University of Limerick, Ireland, is currently a Visiting Fellow at the National Centre for Research on Europe at the University of Canterbury, New Zealand. He has lectured widely throughout Europe ( Portugal, Greece, etc) and the Islamic world (Egypt, Iran, etc) and he has published widely in refereed journals throughout Europe, the Middle East and North America. He is a regular contributor to the international press and media on questions relating to Europe and Islam. 3 During the article, all films will be referred to in the first instance in italics by their Arabic title in an English alphabet form followed by an English translation and the year of film release. Subsequent referrals to the same film will be in italics but in English translation form only. In the filmography at the end of the article, all films are referenced in their Arabic language version in English alphabet form followed by an English translation and year of release. All translations are in standard Egyptian Arabic. Any Arabic terms used in article are highlighted in italics and bold script. Vol.
    [Show full text]