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| 1 |
ID:
123062
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| Publication |
2013.
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| Summary/Abstract |
The cinema has been used by Egyptian regimes, from the monarchy until Mubarak, to resist the political agenda of Islamic radicals and terrorists. Edward Said and others describe Islamic terrorists' images in the Western media as "Western fantasies." Nevertheless, for Egyptian intellectuals, terrorists were and remain a stark reality. In Egypt, the entire state apparatus was set in motion to fight Islamic terrorism. The state was unprepared for the massive popular uprising of 2011. While the direction that Egyptian culture will follow after Mubarak remains unclear, an important objective is to study pre-revolutionary Egyptian cinema and to understand its ideological tendencies.
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| 2 |
ID:
124923
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| Publication |
2013.
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| Summary/Abstract |
The cinema has been used by Egyptian regimes, from the monarchy until Mubarak, to resist the political agenda of Islamic radicals and terrorists. Edward Said and others describe Islamic terrorists' images in the Western media as "Western fantasies." Nevertheless, for Egyptian intellectuals, terrorists were and remain a stark reality. In Egypt, the entire state apparatus was set in motion to fight Islamic terrorism. The state was unprepared for the massive popular uprising of 2011. While the direction that Egyptian culture will follow after Mubarak remains unclear, an important objective is to study pre-revolutionary Egyptian cinema and to understand its ideological tendencies.
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| 3 |
ID:
162411
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| Summary/Abstract |
This article discusses shifting narratives of the police in Egyptian cinema before and after the 2011 revolution. It contextualises cinematic representations in a broad socio-historical framework that underlines the significance of the police and their enormous presence in citizens’ everyday lives in Egypt’s political history of state building. In the early years of the independent nation after the 1952 Free Officers’ coup, when the police was considered a ‘patriotic institution’ (mu’assassah wataniyya), Egyptian films showed policemen as heroes, who worked day and night to keep public safety, prevent crime and maintain order on the streets. But later, particularly during the three decades preceding the 2011 revolution, films began to show police brutality, torture methods in jails and prisons, and the corruption permeating the police apparatus in more explicit ways. The article considers thematic and technical ruptures as well as continuities between pre- and post-2011 representations of the police.
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