Les rôles genrés dans le cinéma égyptien à l’époque nassérienne et au début de l’ère Sadate (1952-1975)
The Nasserite era is known as the golden age of Egyptian cinema. At a time when the majority of the Egyptian population, especially women, were illiterate, cinema played an essential role in spreading the Egyptian government’s messages on family matters. This role continued for several decades after...
Enregistré dans:
| 主要作者: | |
|---|---|
| 格式: | Article ou chapitre numérique |
| 語言: | Français |
| 出版: |
2024
|
| 在線閱讀: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 總結: | The Nasserite era is known as the golden age of Egyptian cinema. At a time when the majority of the Egyptian population, especially women, were illiterate, cinema played an essential role in spreading the Egyptian government’s messages on family matters. This role continued for several decades after Nasser’s death, with the constant broadcasting of these films on television. This broadcasting extended to the entire Arab world. The education of young girls, relationships, sexual relations and the struggle against a patriarchal society - within the limits of good morals and well-understood Islamic law - were constantly at the heart of the scenarios. The stereotypical roles in a moralistic register (the young virgin falls in love with the right young man, and everything must end in marriage) are often more ambiguous than they appear at first glance. Egyptian cinema has consciously taken the place of sexual education as well as moral education. Forced marriage, the fear of the wedding night,”fault” (sex outside marriage), rape, the threat of prostitution, and even pregnancy out of wedlock are all discussed. Without calling patriarchal codes into question, the films stigmatize the unfaithful husband or the one who, repudiating his wife, does not take marriage – necessarily monogamous in the Nasserite era – seriously. Women’s social action was also highlighted in new roles. At the end of the 1960s and the very beginning of the 1970s, the tone shifted towards a bolder promotion of women, and even towards scandalous films. The abrupt change in themes (divorce, child custody, adultery) at the very start of Anwar al-Sadat’s presidency shows the profound evolution of debates, now more focused on married women. |
|---|