Log in

Relevant bibliographies by topics / Film; Egyptian cinema

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Film; Egyptian cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Film; Egyptian cinema.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Film; Egyptian cinema"

1

Allagui, Ilhem, and Abeer Najjar. "Framing Political Islam in Popular Egyptian Cinema." Middle East Journal of Culture and Communication 4, no. 2 (2011): 203–24. http://dx.doi.org/10.1163/187398611x571373.

Full text

Abstract:

AbstractPolitical Islam has been at the forefront of political discussions in and of the Middle East and has often been associated with violence and 'terrorism'. Much has been written on political Islam, but there has been little work on how Arab audiences respond to and view political Islam and the groups seen to be acting under this generic framework, including al-Qa'eda. In the absence of serious audience research that would give us a better idea about attitudes, this article examines how Arab popular culture frames active Islamist groups; in particular we focus on Egyptian films that help shape Arab audiences' perspectives of political Islam. The article analyzes how political Islam is discussed in these films and by film producers, directors and media owners, and how Islamist groups are often framed as the 'other'.

APA, Harvard, Vancouver, ISO, and other styles

2

Saglier, Viviane. "Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation." Review of Middle East Studies 54, no. 2 (2020): 328–35. http://dx.doi.org/10.1017/rms.2021.7.

Full text

Abstract:

What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.

APA, Harvard, Vancouver, ISO, and other styles

3

Mansour, Dina. "Egyptian film censorship." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 21–36. http://dx.doi.org/10.33178/alpha.4.02.

Full text

Abstract:

Films are a representation and manifestation of culture; yet, since the early days of filmmaking public debates have questioned whether “the motion picture industry was morally fit to control the content of its own products” (Robichaux). Today, the Arab world is plagued by the same dilemma. In a region where government censorship is the norm, heavy restrictions are imposed on locally produced films as a means of “safeguarding” public norms, religion and culture. Also problematic in today’s globalised world is the influx of foreign films into local markets, which not only defy public norms, but also represent cultural values and traditions that are quite alien to societies that have been inherently religious and conservative. Against this background, this article aims to analyse the role of censorship in Egypt with regard to the relationship between cinema and culture—a relationship often overlooked and perhaps intentionally ignored. In doing so, it will examine how censorship has traditionally been used as a tool to control the representation of existing social and cultural realities and to define cultural and religious norms, thus also affecting the normative context.

APA, Harvard, Vancouver, ISO, and other styles

4

Chahine, Youssef, and Joseph Massad. "Art and Politics in the Cinema of Youssef Chahine." Journal of Palestine Studies 28, no. 2 (1999): 77–93. http://dx.doi.org/10.2307/2537936.

Full text

Abstract:

This review of the works of the influential Egyptian film director Youssef Chahine brings to light his role as a daring and versatile artist, social critic, and cultural archivist, whose films and documentaries, in addition to being entertaining, provide an insight into the Arab world. The accompanying interview adds background and dimension to Chahine's life and oeuvre.

APA, Harvard, Vancouver, ISO, and other styles

5

Akbaş, Emel. "Mısır Filmlerinin Türk Sinemasında Yarattığı Etki." Etkileşim 2, no. 4 (2019): 276–84. http://dx.doi.org/10.32739/etkilesim.2019.4.74.

Full text

Abstract:

Mısır filmlerinin 1930’ların sonlarından itibaren Türkiye’ye gelmesiyle birlikte halk tarafından yoğun ilgi görmüş, salonlar dolmaya başlamış ve uzun kuyruklar oluşmuştur. Ağır melodram tarzındaki bu filmler Türk toplumunun kültürüne, geleneklerine yaşam tarzına hitap etmiş ayrıca Türkçe sözlü Arapça ezgilerle bezenmiş bu filmler tarihsel geçmişin ve ortak kültürün etkisiyle kısa sürede içselleştirilmiştir. Mısır filmlerine gösterilen yoğun talep yapımcıları harekete geçirmiş ve yapımcılar Mısır’a sık sık giderek birbiri ardına birçok film ithal etmeye başlamıştır. Bu durumu fırsata dönüştüren Muharrem Gürses ise Mısır filmlerinin ağır melodram içeren konularını uyarlayarak peşi sıra filmler çekmiştir. Halk kısa sürede bu filmleri benimsemiş ve Mısır filmleri geri planda kalmış ve böylece ithal etmeye gerek kalmamıştır. Mısır filmleri tarzında yerelleştirilerek çekilen filmler popüler Türk sinemasının doğmasına neden olmuştur. Kısa sürede sinema kazançlı bir sektör haline gelmiştir. Bununla birlikte çekilen filmler ve film şirketlerinin sayısı da artış göstermiştir. Bu yükseliş 1975 yılına kadar sürmüştür.

APA, Harvard, Vancouver, ISO, and other styles

6

Hasso, Frances S. "“I Have Ambition”: Muhammad Ramadan's Proletarian Masculinities in Postrevolution Egyptian Cinema." International Journal of Middle East Studies 52, no. 2 (2020): 197–214. http://dx.doi.org/10.1017/s0020743820000033.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

Mouline, Nabil. "‘Dégage—We’re Filming!’." Middle East Journal of Culture and Communication 7, no. 3 (2014): 330–50. http://dx.doi.org/10.1163/18739865-00703005.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

Slifkin, Meredith. "Modern Women, Modern Egypt." Feminist Media Histories 3, no. 1 (2017): 5–24. http://dx.doi.org/10.1525/fmh.2017.3.1.5.

Full text

Abstract:

This article places existing discourses on Egyptian cinema, revolution, and global feminism in conversation with theories of film melodrama. The text examines the tradition of Egyptian melodrama as a site for analogizing women's liberation with national modernization in the wake of the 1952 Revolution—an analogy facilitated by the careful manipulation of melodramatic vernaculars of emotionality, and the endurance of affective cultural memory. In this context melodrama functions as a specific critical tool for understanding how popular film culture then and now organizes people politically and affectively, on- and offscreen. The article further investigates the “method of contradictions” that seems necessary to think critically about comparative melodrama at three levels of discourse: melodrama in general; the Egyptian melodramatic tradition specifically; and within melodramatic scholarship that tends to resemble its object of study.

APA, Harvard, Vancouver, ISO, and other styles

9

Derrida, Jacques, Safaa Fathy, and Max Cavitch. "Contre-jour." Publications of the Modern Language Association of America 131, no. 2 (2016): 540–51. http://dx.doi.org/10.1632/pmla.2016.131.2.540.

Full text

Abstract:

“Contre-jour” is the opening section of the coauthored book tourner les mots: au bord d'un film (2000), by the franco-maghrebian philosopher Jacques Derrida and the Franco-Egyptian filmmaker and poet Safaa Fathy. Tourner les mots is about their experience of film generally and, in particular, about their collaboration on Fathy's 1999 film D'Ailleurs, Derrida, released in an English subtitled version as Derrida's Elsewhere. One meaning of the word tourner in the book's title is “to film.” But the word also shares with the English turn a wide range of meanings and associations, including “to turn,” “to revolve,” “to depend on,” “to shape or form,” “to consider,” and “to trope.” Thus Tourner les mots refers to cinematic practice (le tournage ‘filmmaking,’ ‘the shoot’) and to the relation between cinema and language (les mots ‘words’).

APA, Harvard, Vancouver, ISO, and other styles

10

Jekanowski, Rachel Webb. "Land in Revolt." Middle East Journal of Culture and Communication 11, no. 3 (2018): 248–73. http://dx.doi.org/10.1163/18739865-01103003.

Full text

Abstract:

Abstract In this article, I examine the politicization of natural resources like water and land, and the wider entanglement of environments and politics, in Egyptian cinematic imaginaries. I focus on Youssef Chahine’s film al-Ard (The land, 1969) and its politicization of agricultural land during the presidency of Gamal Abdel Nasser (1954–1970) and the British colonial occupation of Egypt (1882–1956). Because histories of colonialism and nationalism in the Arab world are rooted in the economic and political exploitation of material resources (including land, water, and people), I draw on eco-criticism as a method of critical reading to analyze the film’s depictions of these configurations of political power and resource management. I argue that al-Ard roots its depiction of the resistance of the Egyptian peasantry (fellahin) in environmental terms, namely, restrictions to resource access and the affective relationships of the peasants to the land. By tracing these imbrications, I seek to relocate environmental concerns in scholarship on political resistance with reference to Nasser-era cinema.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Film; Egyptian cinema"

1

Fawal, Abraham S. "Youssef Chahine and modern Egypt." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325137.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

El, Khachab Chihab. "Technology, labor, and mediation in Egyptian film production." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3968411a-84aa-4478-887b-b2c59be71522.

Full text

Abstract:

This thesis examines the way in which imponderable problems are mediated in the everyday work of commercial film production in Egypt. By 'imponderable problem', I mean a working problem encountered in an extended production process whereby the individual worker, in the present, cannot account for all courses of action leading onto the process's expected outcome. I argue that workers in film production can never entirely solve this kind of problem: they 'mediate' it. They rely on various assumptions and material mediators to break this overall imponderability into a series of contingent tasks, thereby modifying the expected outcome. I situate this mediation in the wider context of the contemporary Egyptian film industry, with its interpersonal mode of interaction, its labor hierarchy, its socio-technical process of production, and its technological implements. This thesis analyzes three imponderable problems in particular: how to coordinate a shooting day; how to visualize the film; and how to anticipate the audience's composition and reaction. The overall argument is situated within media anthropology, where media production tends to be examined as a 'social' phenomenon inscribed on an invisible technological substratum, without exploring the material implications of everyday technological objects in a temporally extended process of production. This literature, moreover, tends to be inattentive to the gap between the way in which the film unfolds and the way in which social agents involved in its making anticipate this unfolding. This thesis, by contrast, considers how Egyptian filmmakers try to anticipate the future of their activity. In addition to being an ethnographic account of the Egyptian film industry, this thesis contributes to the anthropological literature on media production by exploring how workers concretely mediate between the present and the near-/far-future.

APA, Harvard, Vancouver, ISO, and other styles

3

El, Damanhoury Kareem R. "In-Film Product Placement an Emergent Advertising Technique: Comparative Analysis between Top Hollywood and Egyptian Films 2010-2013." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1427889898.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Hassan, Ashraf [Verfasser], and Riccardo [Akademischer Betreuer] Contini. "The Stereotyped Representation of the Foreigner in Egyptian Cinema : A Phono-Morpho-Syntactic and Lexical Study and Corpus / Ashraf Hassan ; Betreuer: Riccardo Contini." Bayreuth : Universität Bayreuth, 2020. http://d-nb.info/1223982084/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Buchlová, Martina. "Metody imaginace v egyptském filmu." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298874.

Full text

Abstract:

Martina Buchlová Summary This thesis looks into the methods of imagination in Egyptian cinema through in-depth analysis of the film adaptation of the Nobel Prize Winner Nagīb Maḥfūẓ's novel Bajna 'l-Qaṣrajn. For the analysis, combined approaches of narratology, film theory and neo- formalism have been used. All the observations and conclusions are supported by evidence in form of extracts from the novel and/or stills from the film. The initial chapter gives a brief account of the history and tendencies of Egyptian cinema from its beginnings to the 1960's, when the analysed film was shot. It also summs up the carrier of the film's director, Ḥasan al-Imām, and puts the film into the appropriate context. Furthermore, this chapter lists the storyline of the novel and mentions a few basic facts about its inception. In the next chapter, the transfer of narrative features of the text into film is being discussed, using the model of cardinal functions by Roland Barthes. A table gives precise account of the narrative elements which were transfered to the film and those which were not or were subject to considerable changes. The following chapter deals with the transfer of the novel's non-narrative elements (whose adaptation to the new medium requires a more inventional approach), such as description of the time and...

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Film; Egyptian cinema"

1

Golden Years of Egyptiaa Film: Cairo Cinema, 1936-1967. American University in Cairo Press, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Film; Egyptian cinema"

1

"Egyptian cinema." In Companion Encyclopedia of Middle Eastern and North African Film. Routledge, 2003. http://dx.doi.org/10.4324/9780203426494-9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

"Images of Arab Americans in Egyptian Cinema." In Arab Americans in Film. Syracuse University Press, 2020. http://dx.doi.org/10.2307/j.ctvz93861.8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

"The crisis of the Egyptian film industry." In Egyptian Cinema and the 2011 Revolution. I.B. Tauris, 2020. http://dx.doi.org/10.5040/9780755603176.ch-002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Burt, Clarissa. "Islam, gender, and extremist violence in contemporary Egyptian cinema." In New Approaches to Islam in Film. Routledge, 2021. http://dx.doi.org/10.4324/9781351189156-18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Sutherland, Doris V. "Introduction." In The Mummy. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325956.003.0001.

Full text

Abstract:

This introductory chapter provides an overview of The Mummy (1932). While the setting and concepts of The Mummy were relatively new to horror cinema as it existed in 1932, the film's creative team nonetheless had plenty of sources from which to take inspiration. Universal Pictures' previous horror films had generally taken place against a European backdrop informed by English Gothic and German Expressionism. The Mummy, on the other hand, turned to Egypt and its ancient history for inspiration. In doing so, the film hit upon what was, as far as cinema was concerned, a fresh variety of monster: a living mummy. Thanks to The Mummy, the cloth-wrapped Egyptian revenant would join the vampire, the werewolf, and Frankenstein's Monster as a horror icon, one that would appear in innumerable sequels, imitations, and parodies. The chapter then details the plot of The Mummy.

APA, Harvard, Vancouver, ISO, and other styles

6

"Technology and revolution: The continuity of ‘independent’ films." In Egyptian Cinema and the 2011 Revolution. I.B. Tauris, 2020. http://dx.doi.org/10.5040/9780755603176.ch-005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

"Representing the national crisis: Films before the revolution, 2006–10." In Egyptian Cinema and the 2011 Revolution. I.B. Tauris, 2020. http://dx.doi.org/10.5040/9780755603176.ch-003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"Constructing cultural memory: Fiction and documentary films that represent the revolution." In Egyptian Cinema and the 2011 Revolution. I.B. Tauris, 2020. http://dx.doi.org/10.5040/9780755603176.ch-004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!