Internformat: Popular Egyptian cinema

Popular Egyptian cinema: gender, class, and nation

Viola Shafik examines popular and commercial movies from Egypt's film industry, including a number of the biggest box-office hits widely distributed in Egypt and the Arab world. She examines these films against the backdrop of the country's overall socio-political development, from the eme...

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1. Verfasser:	Shafik, Viola 1961- (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Cairo ; New York The American University in Cairo Press 2007
Schlagworte:	Geschichte 1920-2005 Film Motion pictures > Egypt National characteristics in motion pictures Sex role in motion pictures Social classes in motion pictures Massenkultur Ägypten
Online-Zugang:	Inhaltsverzeichnis
Zusammenfassung:	Viola Shafik examines popular and commercial movies from Egypt's film industry, including a number of the biggest box-office hits widely distributed in Egypt and the Arab world. She examines these films against the backdrop of the country's overall socio-political development, from the emergence of the film industry in the 1930s, through the Nasser and Sadat eras, up to the era of globalization.
Beschreibung:	Literaturverzeichnis Seite 327-338
Beschreibung:	x, 349 Seiten Illustrationen
ISBN:	9774160533 9789774160530

Internformat

MARC


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Datensatz im Suchindex

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adam_text	Contents Acknowledgments ix Introduction I Why Popular Cinema? 1 Why Popular Egyptian Cinema? 4 Gender, Class, and Nation 5 Ways of Reading 6 Part I : Nation I I Chapter I : The Other 1 3 (Encountering the Other 16 Toward a 'National' Film Industry 17 The Jewish Exodus 23 The Copts: Agents or Victims of National Unity? 41 Between Separatism and Pluralism 51 A Muted Community or Religious Hetero-glossia? 56 The Nubians: Servicemen of the Nation 64 Giocai Self-Assertions 78 CONTENTS Chapter 2: The Allegorical Nation 89 The Fe-male Nation 89 Incar-nation 100 Nasser On- and Off-screen 102 Postmortem Charisma 110 Part 2: Gender 117 Chapter 3: Feminism and Femininity I 1 9 Advocating Female Labor 122 Serving the Bourgeois Nation 127 Misery Feminism 133 Effemination, Sacrifice, and Arranged Marriage 137 Mothers: The Dark Continent 142 Gateway to the Repressed 148 Inside the Bourgeois Home 154 Gender Spatiality 15 8 Woman and the Gaze 165 Female Bonding 173 Women in Action 179 Feminism as a Problem: The Case of Inas al-Dighidi 186 Women Directors 189 Woman-Director Against Her Sex? 193 Chapter 4: Female Stardom, Myth-production, and Morality 1 97 Confronting Islamism 201 Reading Female Stars 205 The Egyptian Star System 210 Prostitute for a Good Reason 213 The Virgin-Whore Dichotomy 218 Questionable Popularity 227 From Sexual Object to Sexual Subject? 233 CONTENTS Part 3: Class 239 Chapter 5: Negotiating Class through Genre 241 Egyptian Class History 242 Genre as a Means of Distinction 246 Melodrama: A Controversial Genre 249 Raped Class/Raped Nation: From Melodrama to Realism 256 Who Represents the New Order? 262 Class Struggle or Reconciliation? 266 Looking For a Villain 270 The 'Fat Cats' Myth 275 Chapter 6: Audiences and Class 28 1 Class Perceptions and Recent Popular Film 285 Capitalizing on Triviality 292 Kings of the Terzo 302 Violence as Transgression? 309 Authenticity, Underdevelopment, and Male Global Heroism 312 Concluding Remarks 319 Notes 325 Bibliography 327 Index of Names 339 Index of Film Titles 343 Photographic Credits 349
adam_txt	Contents Acknowledgments ix Introduction I Why Popular Cinema? 1 Why Popular Egyptian Cinema? 4 Gender, Class, and Nation 5 Ways of Reading 6 Part I : Nation I I Chapter I : The Other 1 3 (Encountering the Other 16 Toward a 'National' Film Industry 17 The Jewish Exodus 23 The Copts: Agents or Victims of National Unity? 41 Between Separatism and Pluralism 51 A Muted Community or Religious Hetero-glossia? 56 The Nubians: Servicemen of the Nation 64 Giocai Self-Assertions 78 CONTENTS Chapter 2: The Allegorical Nation 89 The Fe-male Nation 89 Incar-nation 100 Nasser On- and Off-screen 102 Postmortem Charisma 110 Part 2: Gender 117 Chapter 3: Feminism and Femininity I 1 9 Advocating Female Labor 122 Serving the Bourgeois Nation 127 Misery Feminism 133 Effemination, Sacrifice, and Arranged Marriage 137 Mothers: The Dark Continent 142 Gateway to the Repressed 148 Inside the Bourgeois Home 154 Gender Spatiality 15 8 Woman and the Gaze 165 Female Bonding 173 Women in Action 179 Feminism as a Problem: The Case of Inas al-Dighidi 186 Women Directors 189 Woman-Director Against Her Sex? 193 Chapter 4: Female Stardom, Myth-production, and Morality 1 97 Confronting Islamism 201 Reading Female Stars 205 The Egyptian Star System 210 Prostitute for a Good Reason 213 The Virgin-Whore Dichotomy 218 Questionable Popularity 227 From Sexual Object to Sexual Subject? 233 CONTENTS Part 3: Class 239 Chapter 5: Negotiating Class through Genre 241 Egyptian Class History 242 Genre as a Means of Distinction 246 Melodrama: A Controversial Genre 249 Raped Class/Raped Nation: From Melodrama to Realism 256 Who Represents the New Order? 262 Class Struggle or Reconciliation? 266 Looking For a Villain 270 The 'Fat Cats' Myth 275 Chapter 6: Audiences and Class 28 1 Class Perceptions and Recent Popular Film 285 Capitalizing on Triviality 292 Kings of the Terzo 302 Violence as Transgression? 309 Authenticity, Underdevelopment, and Male Global Heroism 312 Concluding Remarks 319 Notes 325 Bibliography 327 Index of Names 339 Index of Film Titles 343 Photographic Credits 349
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title	Popular Egyptian cinema gender, class, and nation
title_auth	Popular Egyptian cinema gender, class, and nation
title_exact_search	Popular Egyptian cinema gender, class, and nation
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title_full	Popular Egyptian cinema gender, class, and nation Viola Shafik
title_fullStr	Popular Egyptian cinema gender, class, and nation Viola Shafik
title_full_unstemmed	Popular Egyptian cinema gender, class, and nation Viola Shafik
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