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The physicalities of African documentaries: the case of Ateyyat El Abnoudy from Egypt

The physicalities of African documentaries: the case of Ateyyat El Abnoudy from Egypt
The physicalities of African documentaries: the case of Ateyyat El Abnoudy from Egypt
Egyptian cinema has dominated the North African and Middle Eastern region since the fifties. Only occasionally do independent films get national release, for example when they are exceptionally successful abroad (such as Ein Shams (2009) by Ibrahim el Batout). When considering the rest of the Arab region, Egyptian melodrama has dominated commercial releases. This transnationalism of commercial Egyptian films has blinded audiences to the experimental and independent productions. Egypt’s hegemony over other national cinemas in the region is based on the studio films exported throughout the African continent. However, national cinema is much more than what is popular and commercial. It is crucial to study the undercurrent in filmmaking, as it is the creative nature of directors and their innovations that ultimately define the value of a national cinema
1930-1944
139-157
Van De Peer, Stefanie
51d35528-b8de-4778-958d-c5935f2b5358
Van De Peer, Stefanie
51d35528-b8de-4778-958d-c5935f2b5358

Van De Peer, Stefanie (2012) The physicalities of African documentaries: the case of Ateyyat El Abnoudy from Egypt. Critical Interventions, 18, 139-157.

Record type: Article

Abstract

Egyptian cinema has dominated the North African and Middle Eastern region since the fifties. Only occasionally do independent films get national release, for example when they are exceptionally successful abroad (such as Ein Shams (2009) by Ibrahim el Batout). When considering the rest of the Arab region, Egyptian melodrama has dominated commercial releases. This transnationalism of commercial Egyptian films has blinded audiences to the experimental and independent productions. Egypt’s hegemony over other national cinemas in the region is based on the studio films exported throughout the African continent. However, national cinema is much more than what is popular and commercial. It is crucial to study the undercurrent in filmmaking, as it is the creative nature of directors and their innovations that ultimately define the value of a national cinema

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Published date: February 2012
Organisations: Winchester School of Art

Identifiers

Local EPrints ID: 337787
URI: http://eprints.soton.ac.uk/id/eprint/337787
ISSN: 1930-1944
PURE UUID: 31696bc3-20ea-48b2-a3f2-f05bda1ca751

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Date deposited: 04 May 2012 08:28
Last modified: 01 Oct 2020 16:33

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Contributors

Author: Stefanie Van De Peer

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