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| 1 |
ID:
165988
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| Summary/Abstract |
In this article, I argue that audiocassette technology decentralized state-controlled Egyptian media long before the advent of al-Jazeera and the Internet. By enabling any citizen to become a cultural producer, as opposed to a mere consumer, the mass medium and its users sparked significant anxiety in the mid-to-late 20th century, when contentious cassette recordings led many local critics to assert that “vulgar” tapes were poisoning public taste, undermining high culture, and endangering Egyptian society. This article breaks down these arguments and shows that audiotapes actually broadcast a vast variety of voices. Thus, underlying many criticisms of cassette content, I contend, was not simply a concern for aesthetic sensibilities but a desire to dictate who created Egyptian culture during a time of tremendous change. By unpacking these discussions, this article harnesses Egypt as a case study to enhance prevailing investigations of sound, popular culture, and mass media in Middle East studies.
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| 2 |
ID:
165991
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| 3 |
ID:
165994
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| 4 |
ID:
165992
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| 5 |
ID:
165995
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| 6 |
ID:
165990
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| Summary/Abstract |
The Palestine Group was a loosely connected collection of young anti-Shah activists some of whom were arrested and tried publically in 1970 for the crime of acting against the Pahlavi monarchy and Iran's national security. Their plight became global, receiving support from anticolonial figures such as Jean-Paul Sartre. But while they played an important role in inspiring the revolutionary generation, in the historiography of the 1979 revolution and that of the global south, their story has been mostly forgotten. This article argues for remembering the Palestine Group by focusing on two facets of their prerevolutionary activism: the importance of a connection to the anti-imperial/colonial struggles that spread from “Asia to Africa”; and the centrality of maḥfilī politics (friendship circles) in addition to tashkīlātī (organizational) politics, which the historiography has traditionally emphasized. It demonstrates that as resistance shifted from maḥfil to tashkīlāt, it also shifted from a global struggle where Iran was one node out of many, to a nationalized struggle.
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| 7 |
ID:
165989
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| Summary/Abstract |
This article develops a concept of social brokerage to explain leftist–Sadrist cooperation during Iraq's 2015 protest movement. Conventional understanding holds that Iraq's secular-leftist civil trend and Shiʿi Islamist factions have been mutually isolated, and at times fierce antagonists, in Iraq's post-2003 politics. This view has been challenged by an emergent political alliance between a faction of the civil trend and the Shiʿi Islamist Sadrist movement. By comparing this alliance with the failure of another Shiʿi Islamist group, ʿAsaʾib Ahl al-Haq, to involve itself with and exploit the protest movement, this article isolates the conditions which determined the dynamics of leftist–Islamist interactions. Shifting the focus away from elite politics and structural-instrumental explanations favored by rational choice models, this article reveals a longer backstory of social and ideological interactions between less senior actors that transgressed leftist–Islamist social boundaries. From this context, potential brokers emerged, capable of skilfully mediating leftist–Sadrist interactions.
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| 8 |
ID:
165987
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| Summary/Abstract |
This article explores the coloniality of gender, sexuality, and desire, and the links between nationalist and commercial imperatives, in the making of Egypt's first sound film, or talkie, in 1932. Through an analysis of the politics, economy, and memory of Yusuf Wahbi's film Awlad al-Dhawat (Sons of the Aristocrats), it shows how the interplay between new sound technologies, the global film trade, and nationalist and racialized narratives of gender and resistance shaped the contours of ideal femininity and masculinity during the interwar period in Egypt. The article also shows how the film's representations formed at the intersection between the filmmakers’ attempts to challenge colonial stereotyping and their efforts to capture an ever-expanding global film market. Often neglected in cinema scholarship, early filmmaking in Egypt, I argue, is critical to understanding wider processes of nation formation and gendered characterizations.
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| 9 |
ID:
165993
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| 10 |
ID:
165986
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| Summary/Abstract |
I propose that careful reading of films and film coverage provides a new research avenue for scholars interested in the social and cultural history of the 1950s and the 1960s in Lebanon. Looking specifically at the manner in which George Nasser's 1957 film Ila Ayn? (Where To?) embraces and modifies the generic conventions of neorealist melodrama to articulate anxieties over the effects of emigration on Lebanon, this article explores the manner in which contemporaneous cultural critics used the film to, in turn, express their dismay at migration from Lebanon. Reading the film closely for the affects it contains and for those it produced in its readers, I argue that this technique, attendant to both sides of this dynamic, affords us new insights into the manner in which cinema produced during Lebanon's golden period interacted with and complicated the dominant cultural narratives of that era.
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