In the vast major of cases, the development of art is strongly dependent on the cultural and national peculiarities of the country. It reflects positive or negative changes within the society. By studying literature, painting, music of some nations we can get a better understanding of different of its present, past and future. This paper aims to discuss Egyptian cinematography: the stages of its development and those factors that shaped it. It is necessary to analyze the transformation of artistic tendencies during the twentieth century. Moreover, we need to describe the impact of the film industry on Egyptian society, because the audience is also immensely influenced by art which may prompt either positive or negative changes. On the whole, the study of cinema in Egypt is interesting because it shows how two main cultures (Eastern and Western) interact with each other.
It is rather difficult to speak about exact timelines in the history of Egyptian cinematography. Traditionally, scholars believe that this is a relatively new phenomenon in this country because it became popular and accessible to the population only in the forties (Asante, 2002, p 125). Yet, we should take into account that this type of visual art arrived in Egypt in the late twenties but films did not enjoy considerable demand because they were almost unheard-of at that moment. But after World War II Egyptian cinematography began to grow and later reached its peak. The period of 1940-1960 is usually called as “heyday” or golden age (Asante, 2002, p 125). This boom can be explained by several reasons: 1) during that time writers and film directors were relatively independent of the state, in fact, they were given a free hand. Among the most prominent examples of that heyday, we can single out such movies as A Bullet in the Heart directed by Mohammed Karim and Angel of Mercy produced by Yousef Wahbi.
It stands to reason, that they were significantly influenced by Western tradition, namely, we should mention that the preference was given to classical happy endings. Another characteristic feature was the predominance of comedies and melodramas because at that time these genres were popular in France and the United States, and Egyptian people also met them with approval. These works described the social, political, and religious life of Egypt. In this respect, we need to point out that in the fifties Egypt was the only Arabic country that had its own cinematography (Dönmez-Colin, 2007). There is another interesting detail: at that stage, Egyptian society became less occlusive and resistant towards Western influences.
But the situation took an unexpected turn in the late sixties when the cinema industry came under full control of the state, and it was practically deprived of its formed liberties. Subsequently, artists were forced to comply with strict censorship and every deviation from the established standards was prohibited (Shafic, 2007, p 33). Usually, scholars identify this stage as a period of decline. However, even despite these restrictions, some filmmakers succeeded in evading the rules imposed by the government. We may remember Adrift on the Neil shot by Naguib Mahfous, who attempted to depict social relations and the most urgent problems of Egypt such as religious intolerance and violations of human rights. Of course, the authors had to express one’s ideas in a disguised manner in order to avoid the punishment of the law machinery.
In the introduction, we have said that cinematography is influenced by the community, but as a rule, these notions are closely intertwined and their interactions are two-sided. Mass media (including radio, television) contributed to the improvement of living conditions in the country. By throwing light on discrimination of ethnic minorities or suppression of women in Arabic states, cinema attracted the attention of international organizations to these issues, and this compelled the government to make at least some steps towards democratization. It goes without saying that even now many difficulties have not been overcome but this process is usually very arduous and slow.
Secondly, cinema favored the penetration of Western culture into Egypt because it showed the way people lived in other parts of the globe.
Scholars do not know for sure how to characterize modern Egyptian cinematography. Undoubtedly, it passes through a complicated period, and this is not due to the lack of artistic imagination. First, one should take into consideration that producers are not properly financed, they have to shoot small-budget movies and this binds them (Gönül Dönmez-Colin, 2007). Secondly, their works are little known to the international public: European and American viewers are not well aware of new films because these products are poorly advertised. The amount of production slowly increases but it is not in great demand in Egypt because the audience has the opportunity to watch Western films, and this competition turns out to be almost insurmountable for national industry. Still, the competence should not be perceived as something negative because rivalry necessitates local producers to bring innovations and improvements in the quality of their work. Most importantly, they need to make their output more diverse. Perhaps, the rivalry will only boost the evolution of Egyptian cinema in the long run. There is evidence indicating that this conjecture is grounded. In 2006 European and local critics appraised a small-budget film Free Times which explored the habits and values of Cairo teenagers. It received recognition mostly because of its sophisticated plot, good acting and realism. But without substantial financial resources film industry will not be on solid ground.
Theoretically, the cinema of Egypt has incredible potential, and this is not just an attempt to use flattery or pay a compliment. We should not overlook the countrys rich historic and cultural background. If filmmakers rely on it, national cinematography will be of much more interest to the rest of the world. Moreover, it is necessary to utilize Islamic and pre-Islamic artistic traditions (Asante, 2002). Yet, this is only one facet of the task. Again we have to stress the idea that without professional promotion even the most talented works of art will sink into oblivion: the tragedy is that nowadays the audience usually makes its decision on the basis of commercials. Consequently, the success of any product is determined by the effectiveness of the advertisement campaign, and unfortunately, this rule can be applied to cinematography or any other art. Perhaps, it might be prudent to adopt the methods of leading American and European companies and they never underestimate the importance of marketing.
Thus, cinema in Egypt has lived through many ups and downs: it had either freedom of action or was bound hand and foot. Its development was shaped by society and external influences. In the course of history, Egyptian filmmakers experimented with different genres and styles. They not only imitate classical Western examples but incorporated cultural, religious, and ethnic traditions of the country. Modern directors encounter several obstacles such as insufficient support, bitter competition, and inattention to local and international audiences. But recently released movies demonstrate that this state of affairs will not be permanent. There are several prerequisites for a breakthrough, namely, reference to the countrys rich cultural and historic heritage and effective use of advertising techniques.
Bibliography
- Asante. M.T (2002). Culture and Customs of Egypt. Greenwood Press
- Gönül Dönmez-Colin (2007). The cinema of North Africa and the Middle East. Wallflower Press.
- Hayward. S (2000). Cinema studies: the key concepts. Routledge.
- Shafik. V (2007). Arab cinema: history and cultural identity. American Univ in Cairo Press.