The Image of Women in the Egyptian Cinema of the ‘60s. An Analysis of the Character of the Dancer
DOI:
https://doi.org/10.30827/meaharabe.v73.27559Keywords:
Image. Dancer. Cinema. EgyptAbstract
The purpose of the article is to propose an analysis of the image of women in Egyptian cinema based on the character of the dancer. For this, a study of the historical, political, and social situation of the proposed period is presented, identified within “the long 60s”, as Jameson understands the period between 1954 and 1975. Besides, the different factors that we believe fundamental to the approach to the construction of the character of the dancer are exposed. Thus, we explore from primary and secondary sources, the elements that account for the political project carried out by Ŷamāl ‘Abd al-Nāṣir and its manifestations in specific policies around the construction of a mass culture linked to folklore and a feminine ideal linked to it. Complementarily, a corpus of films related to the representation of the character of the dancer in the cinema before and after the defeat of 1967 is analyzed to account for how this event influenced the creation of a degraded image of the dancer, linked to the moral degradation that the booming religious discourse was beginning to identify as the cause of defeat.Downloads
References
ABDEL-MALEK, Anouar. Egypt: Military Society. The Army Regime, The Left and Social Change under Nasser. Nueva York: Random House, 1968.
ABOU CHADI, Ali. “Le secteur public”. En Magda WASSEF (ed.). Egypte 100 ans de cinéma. París: Instituto du Monde Arabe, 1995, pp. 118-123.
ABU-LUGHOD, Lila. Dramas of Nationhood. The Politics of Television in Egypt. Chicago: The University of Chicago Press, 2005.
AMĪN, Ŷalāl. “Taḥiyya Kārīwkā, aw tamānun ‘āman min ḥayāt al-miṣrīn”. En Šajṣyāt laha tārīj. El Cairo: Dār al-Šurūq, 2007, pp. 205-218.
AMO, Mercedes del. “Naŷib Maḥfūẓ: del realismo al simbolismo”. Miscelánea de Estudios Árabes y Hebraicos, Sección Árabe-Islam, 45 (1996), pp. 15-24.
ANDERSON, Benedict. Comunidades imaginadas. Reflexiones sobre el origen y la difusión del nacionalismo. México: Fondo de Cultura Económica, 1993.
ARIGITA MAZA, Elena. El islam institucional en el Egipto contemporáneo. Granada: Universidad de Granada, 2005.
ARMBRUST, Walter. “Bourgeois Leisure and Media Fantasies”. En Dale EIC- KELMAN y Jon ANDERSON (eds.) New Media and the Muslim World: The Emerging Public Sphere. Bloomington: Indiana University Press, 1999, pp. 106-132.
ARMBRUST, Walter. Mass Culture and Modernism In Egypt. Cambridge: Cam- bridge University Press, 1996.
AZAOLA PIAZZA, Bárbara. “Activismo político”. Revista Culturas, 2 (2008), pp. 30-40.
BASSIOUNEY, Reem. Language and Identity in Modern Egypt. Edimburgo: Edimburgh University Press, 2014.
Between You and Me. Egyptian Treasures from the Archives of The Voice of America. CD. Embajada de Estados Unidos en El Cairo, 2007.
BINDĀRĪ, Ŷalīl al-. Šafīqa al-Quṭiyya. El Cairo: al-Mu’allif, 1962.
BRACCO, Carolina. “The Creation of the Femme Fatale in Egyptian Cinema”. Journal of Middle East Women’s Studies, 15, 3 (2019), pp. 307-329.
DARWĪŠ, Muṣṭafà. “al-Raqāba wa-l-sīnimā l-ujrà: šahādat raqīb”. Alif, Maŷallat al-Balāga al-Muqārana, 15 (1995), pp. 91-98.
FAHMY, Farida. The Creative Development of Mahmoud Reda, a Contemporary Egyptian Choreographer. Tesis de Maestría presentada en la Universidad de California, Los Ángeles, 1987.
FARID, Samir. “La censure, mode d’emploi”. En Magda WASSEF (ed). Egypte 100 ans de cinéma. París: Institut du Monde Arabe, 1995, pp. 102-117.
FRANKEN, Marjorie. “Farida Fahmy and the Dancer´s Image in Egyptian Film”. En Sherifa ZUHUR (ed.). Images of Enchantment Visual and Performing Arts of the Middle East. El Cairo: AUC Press, 1998, pp. 265-281.
GAUTHIER, Guy. “Le moineau”. En Christian BOSSÉNO (ed.). Yousef Chahi- ne, l´Alexandrin. CinémAction, 33 (1985), pp. 95-97.
GÓMEZ GARCÍA, Luz. Diccionario de Islam e islamismo. Madrid: Espasa Cal- pe, 2009.
GORDON, Joel. “The Slaps Felt around the Arab World: Family and National Melodrama in Two Nasser-Era Musicals”. International Journal of Middle East Studies, 39, 2 (mayo 2007), pp. 209-228.
ḤADĪDĪ, Munà. Dirāsa taḥlīliyya li-ṣūrat al-mar’a al-miṣriyya fī l-fīlm al-miṣrī. Tesis doctoral Universidad de El Cairo, 1977, inédita.
HASSAN, Faiza. “Beauty and the Beat”. Al Ahram Weekly, 489 (6-12 de julio de 2000), p. 4.
HOBSWAM, Eric y RANGER, Terence (eds.). The Invention of Tradition. Cam- bridge: Cambridge University Press, 1983.
ISSA, Ṣalāh. “The July Culture Project”. Al Ahram Weekly, 818 (noviembre de 2006), p. 13.
JAMESON, Frederic. “Periodizing the 60s”. Social Text, N° 9/10. The 60’s without Apology, (1984), pp. 178-209.
LÓPEZ ENAMORADO, María Dolores. El Egipto contemporáneo de Naŷīb Maḥfūẓ: La historia en la Trilogía. Sevilla: Ediciones Alfar, 1999.
MESSIRI, Sawsan el-. Ibn al-Balad. A Concept of Egyptian Identity. Leiden: E. J. Brill, 1978.
MITCHELL, Timothy. Colonizing Egypt. Nueva York: Cambridge University Press, 1991.
MUMTĀZ, Ibtidāl. Muḏakkirāt raqībat sīnimā. El Cairo: al-Hay’a al-Miṣriyya al-‘Āmma li-l-Kitāb, 1985.
NĀZIK, Bāsilā. Muḏakkirāt Badī‘a Maṣābnī. Beirut: Dār Maktabat al-Ḥayā. NIEWKERK, Karin van. A Trade like Any Other. Female Singers and Dancers in Egypt. El Cairo: AUC Press, 1996.
PRATS, Llorenc. Antropología y patrimonio. Barcelona: Ariel, 1997.
RAMZI, Kamal. “Les sources littéraire”. En Magda WASSEF (Ed.). Egypte 100 ans de cinéma. París: Institut du Monde Arabe, 1995, pp. 226-237.
RIḌÀ, Maḥmūd. Muḏakkirāt al-raqṣ wa-l-qiṣṣa ḥayāt. El Cairo: al-Kitāb al- Ḏahabī, Mu’assasat Rūz al-Yūsuf, 2002.
—. Fī ma‘bad al-raqṣ. El Cairo: Dār al-Ma‘ārif bi-Miṣr, 1968.
SAÏD, Sayed. “Politique et cinéma”. En Magda WASSEF (ed.). Égypte 100 ans de cinéma, París: Institut du Monde Arabe, 1995, pp. 190-213.
SALEH, Magda. A Documentation of the Ethnic Dance Traditions of the Arab Republic of Egypt. Tesis doctoral presentada en la Universidad de Nueva York, 1979, inédita.
ŠARAF AL-DĪN, Durriyya. Al-Siyāsa wa-l-sīnimā fī Miṣr (1961-1981). El Cairo: Dār al-Šurūq, 1992.
SHAFIK, Viola. Popular Egyptian Cinema. Gender, Class, and Nation. El Cairo: AUC Press, 2007.
SHAY, Anthony. Choreographic Politics: State Folk Dance Companies, Repre- sentation, and Power. Middletown: Wesleyan University Press, 2002.
TORRES GARCÍA, Ana. “Cine, historia e identidad nacional: La Momia de Šādī ‘Abd al-Salām”. Miscelánea de Estudios Árabe y Hebraicos, Sección Árabe- Islam, 51 (2002), pp. 315-326.
VITALIS, Robert. “American Ambassador in Technicolor and Cinemascope, Ho- llywood and Revolution on the Nile”. En Walter ARMBRUST (ed.). Mass Mediations: New Approaches to Popular Culture in the Middle East and be- yond. Berkeley: University of California Press, 2000, pp. 269-291.
YOUSSEF, Maro. Egyptian State Feminism on the Silver Screen: The Depiction of the “New Woman” in Nasserist Films (1954-1967). Tesis de Maestría pre- sentada en la Universidad George Washington, 2010, inédita.
YŪNUS, ‘Abd al-Ḥamīd. Difā‘ ‘an al- fūlklūr. El Cairo: al-Hay’a al-Miṣriyya al- ‘Āmma li-l-Kitāb, 1973.
YUSUF ZAKY, Gamal. “Entrevista a Naguib Mahfuz: el arte viene de adentro”. Revista Intramuros, 28 (Primavera/Verano 2008). http://www.revistasculturales.com/articulos/38/intramuros/931/1/entrevista-a- naguib-mahfuz-el-arte-viene-de-adentro.html (Consulta: 12/07/2014).
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Miscelánea de Estudios Árabes y Hebraicos. Sección Árabe-Islam
This work is licensed under a Creative Commons Attribution 4.0 International License.
The authors publishing their work in this journal agree to the following terms and conditions:
1. The authors retain the copyright and give the journal the right to be the first publication of the work and also to be licensee under a Creative Commons Attribution License which allows others to share the work, provided the author of the work and the initial publication in this journal are acknowledged.
2. Authors may make additional agreements separately for the non-exclusive distribution of the version of the work published in the journal (for example, putting it in an institutional repository or publishing it in a book), with acknowledgement of its initial publication in this journal.
3. Authors are allowed and encouraged to electronically disseminate (for example, in institutional repositories or on their own web page) the published version of their works (publisher's post-print version) or, if not possible, the author's reviewed and accepted post-print version. This is to facilitate productive exchanges, and allow for earlier and greater citation by third parties of the published works (See The Effect of Open Access).
4. The journal accepts no responsibility for the opinions expressed by the authors.
