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Ed Webb

Film Review // Taqwacore: The Birth of Punk Islam « The Taqwacore Webzine - 0 views

taqwacore.wordpress.com/...wacore-the-birth-of-punk-islam

Islam taqwacore review movie film

shared by Ed Webb on 14 Oct 09 - Cached
  • to take the notion that whistling, stringed instruments, or female stage presence are all somehow interruptions in our connection with God and turn them so completely around that they become the very channel through which we access God, is where things get interesting.
  • What struck me most about ‘Taqwacore’ was not that the bands lived in contradiction, praying and swearing, mediating between mosques, mosh pits, and the media… that’s all old news. Every Muslim/immigrant/kid that turned out different than their parents has already figured out that life is complicated and no one lives one-dimensionally. Nor was it really the music — I’m not a huge punk fan, and when I first heard about Taqwacore years before it was in Rolling Stone, I thought it was a cool idea but could never really get into the music. What surprised me most about the movie, then, was that I liked it that much. That I felt this raw reaction, that made my heart come up into my throat and tugged on some emotional organ somewhere in my core. And it seemed that in some way, here was art that was not preachy, not quiet, not apologetic, not commercialized or sanitized or boring, and yet was still an acknowledgment of a world other than that of our own making. That as Jehangir puts it, praised without asking permission. That dared to say what you’re not really allowed to, and originated out of the sweat of matam. And ask any Shi’a the world over: when it comes to intensely sacred outpours, you really can’t top that.
  • it seems appropriate to take punk, music born out of an anti-establishment ethic and a rejection of the mainstream, and make it a matter of God-consciousness. Perhaps even something, as all sorts of bombs rain down, to find shelter in.
Ed Webb

Enough About You - Features - Utne Reader - 0 views

www.utne.com/print-article.aspx

US USA opinion analysis society media psychology

shared by Ed Webb on 21 Apr 11 - No Cached
  • Economic man . . . has given way to the psychological man of our times—the final product of bourgeois individualism. The new narcissist is haunted not by guilt but by anxiety. His sexual attitudes are permissive rather than puritanical, even though his emancipation from ancient taboos brings him no sexual peace. He extols cooperation and teamwork while harboring deeply antisocial impulses. He praises respect for rules and regulations in the secret belief that they do not apply to himself. Acquisitive in the sense that his cravings have no limits, he does not accumulate goods and provisions against the future, in the manner of the acquisitive individualist of 19th-century political economy, but demands immediate gratification and lives in a state of restless, perpetually unsatisfied desire.
  • The contemporary climate is therapeutic, not religious. People today hunger not for personal salvation, let alone for the restoration of an earlier golden age, but for the feeling, the momentary illusion, of personal well-being, health, and psychic security.
  • Today Americans are overcome not by the sense of endless possibility but by the banality of the social order they have erected against it. People nowadays complain of an inability to feel. They cultivate more vivid experiences, seek to beat sluggish flesh to life, attempt to revive jaded appetites. Outwardly bland, submissive, and sociable, they seethe with an inner anger for which a dense, overpopulated bureaucratic society can devise few legitimate outlets.
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  • The mass media, with their cult of celebrity and their attempt to surround it with glamour and excitement, have made America a nation of fans and moviegoers. The media give substance to and thus intensify narcissistic dreams of fame and glory, encourage common people to identify themselves with the stars and to hate the “herd,” and make it more and more difficult for them to accept the banality of everyday existence.
  • The modern propaganda of commodities and the good life has sanctioned impulse gratification and made it unnecessary for the id to apologize for its wishes or disguise their grandiose proportions. But this same propaganda has made failure and loss unsupportable.
  • The proliferation of recorded images undermines our sense of reality. We distrust our perceptions until the camera verifies them. Photographic images provide us with the proof of our existence, without which we would find it difficult even to reconstruct a personal history.
  • On the one hand, the degradation of work makes skill and competence increasingly irrelevant to material success and thus encourages the presentation of the self as a commodity; on the other hand, it discourages commitment to the job and drives people, as the only alternative to boredom and despair, to view work with self-critical detachment.
  • The ideology of personal growth, superficially optimistic, radiates a profound despair and resignation. It is the faith of those without faith.
  • The modern prince does not much care that “there’s a job to be done”—the slogan of American capitalism at an earlier and more enterprising stage of its development; what interests him is that “relevant audiences,” in the language of the Pentagon Papers, have to be cajoled, won over, seduced.
  • At the same time that public life and even private life take on the qualities of spectacle, a countermovement seeks to model spectacle, theater, all forms of life, on reality—to obliterate the very distinction between art and life. Both developments popularize a sense of the absurd, that hallmark of the contemporary sensibility. Overexposure to manufactured illusions soon destroys their representational power. The illusion of reality dissolves, not in a heightened sense of reality as we might expect, but in a remarkable indifference to reality.
  • To the performing self, the only reality is the identity he can construct out of materials furnished by advertising and mass culture, themes of popular film and fiction, and fragments torn from a vast range of cultural traditions. In order to polish and perfect the part he has devised for himself, the new Narcissus gazes at his own reflection, not so much in admiration as in unremitting search of flaws, signs of fatigue, decay.
  • Our over-organized society, in which large-scale organizations predominate but have lost the capacity to command allegiance, in some respects more nearly approximates a condition of universal animosity than did the primitive capitalism on which Hobbes modeled his state of nature.
  • Excerpted from The Culture of Narcissism: American Life in An Age of Diminishing Expectations, by Christopher Lasch. Copyright © 1979 by Christopher Lasch. Used by permission of the publisher, W. W. Norton & Company, Inc. 
Ed Webb

Is the Egyptian media starting to hold Sisi to account? | Middle East Eye - 4 views

www.middleeasteye.net/...an-media-turned-sisi-213138522

Egypt media Sisi authoritarianism journalists analysis opinion

shared by Ed Webb on 02 Mar 16 - No Cached
  • Since the 2013 coup, Egyptian news outlets have mostly served as pro-government propaganda tools, supporting the government right through its worst human rights violations.It may come as a surprise, then, that some Egyptian news coverage has started to take jabs at the government, including, at times, current President Abdel Fattah al-Sisi.
  • Media personalities are beginning to hold Sisi’s government to account because government repression has started to hit closer to home.Most mainstream Egyptian media personalities are passionately anti-Islamist, and openly supported the 2013 coup that removed Islamist president Mohamed Morsi from office. For nearly three years, Egyptian journalists have been silent about human rights violations against Morsi’s Islamist supporters. At times, Egyptian media have openly supported mass killings, irregular trials and other transgressions.However, in recent weeks, the Sisi government has committed transgressions against non-Islamists, with whom Egyptian media personalities relate. Several prominent writers have been given jail sentences, the judiciary sentenced a toddler to life in prison, an Italian graduate student was tortured to death (most likely by Egyptian security forces), and doctors were roughed up by Egyptian police, among other disturbing violations.
  • For two years following the coup, both the Egyptian government and its obsequious media apparatus scapegoated the Brotherhood, blaming the group for myriad problems, including floods, power outages, and violence committed by ISIS.Given the time that has elapsed since the coup, and also the fact that the first several tiers of Brotherhood leadership are in jail, it is no longer plausible to blame the Brotherhood for many of the nation’s problems. As a natural course, Egyptians, including media figures, are beginning to turn their attention away from the Brotherhood and toward the government.
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  • Egypt’s political system is not, and has not been, absolutely authoritarian. In quasi-authoritarian states, journalists are often allotted some room to manoeuvre. Even under the Mubarak dictatorship, occasional criticism of the government was allowed, provided that certain “red lines” were not crossed
  • It remains highly unlikely, for instance, that journalists will attempt to critically examine the Egyptian military’s role in politics, or suggest that police should be held accountable for atrocities committed against the Muslim Brotherhood
  • the Sisi government is pushing back against the recent wave of criticism. In addition to the aforementioned arrests of writers, the government has arrested dozens of Facebook page administrators and, most recently, placed investigative journalist Hossam Bahgat on a no-fly list
  • n a reference to anti-government media coverage, Sisi condemned what he sees as attempts to bring down the government, saying he will “remove from the face of the earth” anyone who attempts to do so. In a direct reference to critical news coverage, Sisi instructed Egyptians to listen only to him, and avoid those who attack the government. Sisi shouted, “Please, do not listen to anyone but me! I am dead serious! Do not listen to anyone but me!”
Ed Webb

The Syrians are watching - Features - Al Jazeera English - 2 views

english.aljazeera.net/...2011129132243891877.html

Syria Egypt protests #jan25 internet socialmedia facebook censorship

shared by Ed Webb on 03 Feb 11 - No Cached
  •  text messages buzzed between mobiles in quick succession, drawing woops of joy and thumbs up from astonished Syrians
  • "Perhaps the Saudis will have to build a whole village for Arab presidents once they run out of villas," joked a taxi driver
  • the usual babble of conversation was subdued as customers sat quietly but intently watching the TV broadcasting images of flames pouring from Egypt's ruling party's head office, a Soviet-era building much like many of those that house the state institutions in their own capital
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  • now people are simply looking for their personal freedom, for food, education, a good life. The days of ideology are over
  • Syria's state-run media quoted some news reports from Cairo, but offered no comment or analysis on the situation. By Saturday morning life had returned to normal with few signs, on the surface at least, that the authorities were concerned about potential unrest. Socialising by proxy Online, however, it was a different story. Internet users reported a significant slowdown in the web, with searches for news on Egypt often crashing browsers. Heavy user traffic could be an explanation but in Syria, where thousands of websites deemed opposed to state interests are blocked and where Facebook, Twitter, YouTube and other social media are banned, authorities denied accusations they had restricted the service to prevent citizens hearing about events in Cairo.
  • authorities banned programmes that allow access to Facebook Chat from mobile phones, a cheap and easy means of staying in touch that had exploded in popularity among young Syrians
  • surfing the web at an internet cafe
  • thousands of young Syrians adept at using proxy servers to get around the official ban on Faceboo
  • President Bashar al-Assad, who opened Syria up to the internet when he succeeded his late father in 2000, has his own Facebook page
  • All across Damascus, symbols of a burgeoning middle class are spreading, from a sleek sandstone shopping mall, home to Costa Coffee and a bright new art gallery, to the Lebanese banks opening sparkling new branches for the first time. But as the young doctor put it, looking up at the cameras inside the internet cafe: "Everything here is under control, even if it looks open."
Ed Webb

The battle over the memory of Egypt's revolution | openDemocracy - 0 views

www.opendemocracy.net/...r-memory-of-egypt-s-revolution

Egypt Bahrain memory history revolution #jan25 military authoritarianism

shared by Ed Webb on 23 Feb 19 - No Cached
  • The once-embattled ancien regime is back with full force. Not only to consolidate its power in the present, but also to control the past. Yet, since the outbreak of the January 25 Revolution, besides the Islamists, two distinct communities were – and still are – in conflict, among other things, over the revolution’s nature and principles: the regime and the revolutionary activists. What follows is an exploration of these communities’ strategies to permeate the people’s collective consciousness and to enforce their own narratives of the revolution and its memory, across three different domains: Egypt’s public space; Egypt’s online sphere; and outside Egypt.
  • in the revolution’s early years, Egypt’s public space was representative of the young activists’ creativity and rebellion
  • Through graffiti on walls, images, texts and structures, the activists created from the country’s streets and squares memorials to keep the memory of the brave martyrs as well as the revolution’s ideals alive. Walls of Freedom, a 2014 book by Hamdy and Stone, offers thorough insights into the revolution and its artistic works. Young Egyptians’ independent cultural activities, including concerts and exhibitions, played a role in enhancing the historical narrative of the pro-revolution community.
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  • the activists’ 2012 campaign: Askar Kazeebon (Lying Military) whose modus operandi was to broadcast videos and documentaries to pedestrians that falsify the military’s accounts of various events and expose the soldiers’ crimes and human rights violations that official and regime-friendly media ignored
  • the military, Egypt’s central power, endeavoured to restrict the public space and erase the memory of the January 25 revolution. For this power knows that while memories are linked to the past, they determine how many Egyptians will perceive the future. The military pursued 1984’s Orwellian prophecy: ‘he who controls the past controls the future’.
  • the walls of revolutionary graffiti were repainted, CCTV cameras were installed in central spaces, and governmental offices were relocated away from the heart of Cairo
  • in dismantling the revolutionary symbols, the regime intended to construct a collective memory that excludes rival interpretations of events to its own. That is reminiscent to the Bahraini government’s destruction of Pearl Roundabout, the rallying point of the 2011 mass anti-government protests.
  • In November 2013, a few hours after Prime Minister Beblawi inaugurated it, protesters vandalised a memorial that the government built for ‘the martyrs of the revolution’. In his inaugurating speech, Beblawi referred to January 25 and June 30 ‘revolutions’ as well as the martyrs of the police and the army. That was interpreted by the protesters as another attempt to conflate the meanings and disrupt the image and the perceptions of the January 25 Revolution in the Egyptians’ collective consciousness
  • The unprecedented crackdown on dissent and the draconian laws that reportedly imprisoned tens of thousands of activists had prompted many to surrender the public space. Some are silent out of fear or disappointment. Others tried to put the memory of the revolution aside, so that they can go on with their own personal lives
  • Since the 2013 military coup, state and private media outlets – mostly controlled by the regime’s clientele – have kept glorifying the military’s role in recent years as well as defaming the revolution and activists as tools of the west to destroy Egypt
  • tech-savvy young activists already utilised memorialisation to foment the democratic uprising. We Are All Khalid Said, a Facebook page created to commemorate the 28-year old Khalid Said who was brutally tortured and killed by police, in 2010, became the January 25 protests’ virtual rallying point and main coordinator.
  • there are many initiatives to resist forgetting the revolution and silencing its voices. The most recent of which is Mosireen Collective’s 858 archive of resistance. In the Collective’s own words, the archive includes raw photographs, videos and documents that ‘present thousands of histories of revolt told from hundreds of perspectives. While the regime is using every resource to clamp down on public space and public memory the time has come to excavate and remember and re-present our histories.’
  • Wiki-Thawra whose slogan is ‘so we don’t forget’; UCLA’s Tahrir Documents; AUC’s University on the Square; and MIT’s 18 Days in Egypt.
  • After the 2013 military takeover, thousands involuntarily left the country to live in exile abroad. A minority among the exiled are still engaged in telling stories of the revolution and protesting al-Sisi government’s human rights violations and destruction of Egypt’s democratic hopes. Using art and satire, they continue to disturb the regime’s hegemonic revolution-defaming narratives.
  • it is still uncertain whether the regime has successfully dominated the Egyptian collective memory of the January 25 Revolution. That is because collective memory is not a static realm but rather a fluid construct that shapes – and is shaped by – current conditions and future aspirations.
Ed Webb

Patriarchal pop: the latest sexist trend in Arabic pop music - The National - 0 views

www.thenational.ae/...d-in-arabic-pop-music-1.625696

music popularculture popculture Arabs TV television satellite misogyny patriarchy

shared by Ed Webb on 11 Mar 19 - No Cached
  • a list of admonitions to females disguised as tips to achieve domestic bliss: “When the man speaks, the women shouldn’t argue back/ She shouldn’t say ‘yes sir’ and forget the next day/ She should understand and appreciate his value if she wants to continue the relationship with him.” And this is only the first verse. Sabry continues his diatribe with suggestions regarding a women’s modesty, private and public behaviour. Perhaps sensing such instructions are abusive, he ends the track by basically telling his prospective lover to keep his indiscretions private. “The woman who keeps her house, and its secrets, she’s perfection/ And the woman who accepts her lot will see a quick correction/ But the woman who causes problems will find nothing but rejection.”
  • Ever since its release in July, the title track of his album has amassed more than three million views on YouTube. in addition to being a mainstay of Arabic pop stations regionwide.
  • “Al Ragel provoked some females because of its lyrics,” he said. “But I ask, why don’t they take this song as form of advice for them?”
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  • Lebanese bad-boy pop star Fares Karem has always had a more-direct approach. His testosterone-filled brand of thumping Lebanese folk is best exemplified in his 2005 hit El Tanoura (The Skirt), with lyrics that border on verbal stalking: “Her skirt is very short, a hand span and a half/ And her blouse is see-through.” Karam, who is no stranger to criticism regarding a body of work that includes other alpha-male anthems Neswanji (Player) and Shefta (I Saw Her), says that his songs merely reflect the conversations being conducted in society. “It is because I am talking about daring issues,” he told The National in May. “With respect to my peers, none of them are as direct as me. I talk about real-life situations that people face, but in a way they identify with.”
  • “This is something new. Arabic songs never really had songs with such hurtful meanings,” stated the Jordanian novelist Fadi Zaghmout on his popular Arabic popular-culture blog The Arab Observer.
  • “This only popped up in the past few years, where men seem to feel they have the right to be vocal about women’s behaviour, stating what seems to them be social criticism and disapproval on how modern women are claiming their independence and equal status.”
  • a growing list of patriarchal pop songs – let’s call it pat-pop
  • Mohamed Eskander’s 2010 hit Joumhoureyet Alby, in which he scuttles the notion of his wife (or daughter) getting a job: “Your work is my heart and my emotions/ You’re not going to have time for anything else/ It’s enough that you are the president of my heart.”
  • the May release of Te’rafy Teskoty by Medhat Saleh. It translates to Do You Know How to Shut Up? and the veteran Egyptian singer released a complementary video where he and partner get into a heated argument in an elevator. The reason behind the row is that she became jealous of Saleh taking selfies with young female fans. Saleh’s face is full of controlled rage throughout the elevator scene. He almost spits out the lyrics, which begin from the relatively benign – “Do you know how to shut up, stop getting ideas” – to the more unpleasant – “Do you know how to shut up or should I shut you up?”
  • Ghazi is not surprised by the seeming glut of misogynist Arabic pop songs. The notions expressed in these songs were always there, she says, but the explosion of privately owned television and radio stations have allowed these songs to find a home.
  • “You are seeing such misogyny also in western songs from pop to hip-hop music. But what happened in the region [is] before you only had access to state-run media. Now there are so many privately owned channels. “The fact that these songs are shown on these channels, which are for profit and with no regulation, points that there is a whole industry regarding these songs.”
  • the latest salvo in an ongoing struggle for gender equality in the region that came to the fore during the demonstrations
  • “What we seen from the Arab Spring is that when women are on the streets calling for change, they don’t just talk about politics. Everything is out in the open, from systemic privileges, marginalisations and all kinds of challenges. That’s because social diseases and politics are a reflection of each other,”
  • an added responsibility that Arab songwriters must now bring to their work, says Lebanese artist Tania Saleh. The indie singer-songwriter is one of the small contingent of female lyricists working in the Arabic music industry; her list of collaborations includes songs for Egyptian-Belgian singer Natacha Atlas and the soundtrack to Lebanese films Caramel (2007) and Where Do We Go Now (2011). Her five albums of Oriental folk have evocative lyrics dealing with societal issues from a female perspective, in songs such as Hal Ouyoun, Lezim and Reda.
  • the lack of artistic integrity caused by the demands of a profit-driven Arabic pop industry
  • decades ago during the apogee of the Arabic song, the 50s and 60s – you would never think about writing such things. Think of the classic songs of Umm Kalthoum and Mohammed Abdel Wahab. They sang about deep and sensitive emotions. And who wrote those songs: men.
  • Before pouring all that ugliness into society, artists should think about what they are producing and to whom.
Ed Webb

Berlin Film Festival: Middle East cinema takes the stage amid criticism of event | Midd... - 0 views

www.middleeasteye.net/...iew-fatih-akim-dieter-kosslick

film Germany Iran Sudan Lebanon Turkey Morocco

shared by Ed Webb on 06 Feb 19 - No Cached
  • For a Middle Eastern film-maker at Berlin, premiering a project outside competition or a special gala can be a major gamble: judging by the scant number of reviews Middle Eastern films have received during the past few years, most get overlooked in the media rush to cover the major titles. But contrary to recent years, and perhaps in a sign of changes come, the Middle Eastern selection at the 69th Berlinale is particularly intriguing, featuring experimental films, political allegories, documentaries and one rediscovered classic.
  • The most politically outspoken Turkish filmmaker working today, Alper rose to fame with his political allegories, Beyond the Hill (2012) and Frenzy (2015), which explored how the state uses different forms of fear tactics to force its citizens into submission. He then courted controversy with his public support for the Gezi protests of 2013 and his subsequent signing of the 2016 petition that called for the release of the academics who were rounded up for denouncing the Erdogan regime for its attacks on the Kurds. His actions, he insisted in several interviews, excluded him from state funding, pushing him to seek private investments for his latest endeavour (it is a Turkish-German-Dutch-Greek co-production). How far his new drama can push his critical political agenda remains to be seen.
  • Veteran Lebanese auteur Ghassan Salhab was last seen at the Berlinale in 2015 with his highly acclaimed narrative feature, The Valley. This year he returns to the Forum – which leans towards experimental film – with An Open Rose, an essayistic collage that uses the letters of Polish-German Marxist theorist and short-lived revolutionary leader, Rosa Luxemburg, from her time in prison to examine the militarisation of the Middle East in the 20th century.
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  • the biggest discovery of this year’s edition from the Middle East could very well be Sudan, the new Arab cinema on the block making its major international festival debut with two documentaries by first-time filmmakers: Marwa Zein’s Forum contender, Khartoum Offside; and Suhaib Gasmelbari’s Panorama pick, Talking About Trees.
  • Iran has had a modest presence during the recent past at Berlin – and this year is no different, with only a single feature representing the once powerhouse cinema across all sections. Deviating from the country’s signature social realism, newcomer Suzan Iravanian is attracting buzz for her Forum curio, Leakage, a supernatural mystery about a fifty-something middle-class woman who starts leaking oil from her body after her husband disappears.
  • Mostafa Derkaoui’s forgotten 1974 classic, About Some Meaningless Event, a docudrama about a group of filmmakers asking passersby in Casablanca about their expectations for Moroccan cinema, only to shift their focus to a resentful worker who accidentally kills his superior.  An investigation of the role of cinema and art in society, this militant effort - which was primarily funded by the sale of paintings of a number of contemporary painters – was banned in Morocco and virtually disappeared, until a negative print was discovered in the Spanish film archive, Filmoteca de Catalunya, in 2016 and subsequently restored.
Ed Webb

'Diamond Dust,' a poisonous pleasure for Egyptian moviegoers - 0 views

www.al-monitor.com/...-in-outlook-toward-nasser.html

Egypt film history politics Nasser

shared by Ed Webb on 07 Jan 19 - Cached
  • Tearing down pillars of modern Egyptian history can be lethal, as author and screenwriter Ahmed Mourad and director Marwan Hamed recently discovered with “Diamond Dust,” a political thriller dealing with the Free Officers Movement and the coup that dethroned King Farouk on July 23, 1952
  • “Diamond Dust” the book, published six months before the 2011 revolution, became a best-seller that year, but was not a source of controversy. Its adaptation for the stage in 2016 premiered without event. This August, however, when the film adaptation by Hamed, known for the daring drama “The Yacoubian Building” (2006), arrived in Egyptian cinemas, it created a stir.
  • “Diamond Dust” is the first Egyptian movie to describe the 1952 change in government as a coup, rather than a revolution, as the state officially recognizes the event. In fact, the film is unapologetically critical of the whole movement. Egyptian cinematic works have criticized the politics of President Gamal Abdel Nasser, one of the leaders of the Free Officers, and of his successors' regimes, but the Free Officers Movement itself had apparently been off-limits.
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  • “Many viewers saw this vision as biased, as it addressed only Abdel Nasser’s flaws and neglected his virtues, while glorifying Mohammad Naguib with no reliable proof,” Shennawi told Al-Monitor. “Egyptian cinema suffered a lot in the era of Abdel Nasser, who exploited cinema to promote the ideas of the July 23 revolution and gradually root out any opposing ideas. Egyptian cinema started breaking free from those restrictions with the film ‘Al-Karnak’ [1975], which criticized Abdel Nasser’s era, and ‘Ahl al-Qima’ [People on the Top, 1981], against [President Anwar] Sadat’s Egypt.”
  • many Nasserists and supporters of the 1952 revolution have harshly criticized the film. Last month, Magdy Eltayeb, film critic for the newspaper Al-Qahira, posted on his personal Facebook page, “Diamond dust is poisonous. … [The film] adopted a stance against the 1952 revolution. … It showed excessive sympathy with the Jews to the extent that this has undermined this work’s aesthetic value as a film noir.”
  • A hit, “Diamond Dust” has so far earned 27.6 million Egyptian pounds ($1.5 million) at the box office.
Ed Webb

'No Flag of Gays': Egyptians Checked for 'Rainbow Flags' at Red Hot Chili Peppers Conce... - 0 views

egyptianstreets.com/...-red-hot-chili-peppers-concert

Egypt music LGBT LGBTQ censorship

shared by Ed Webb on 18 Mar 19 - Cached
  • On Friday night, American rock band Red Hot Chili Peppers performed a concert for more than 10,000 people with the Pyramids of Giza in the background. Some concertgoers have posted on social media their bewilderment after being asked by policemen upon entry whether they have any “flag of gays”. On Twitter, Samer Al-Atrush wrote that the concert had high security. Among the items banned, Al-Atrush tweeted, were rainbow flags often used in support of the LGBTIQ+ community.
  • Another user, Ahmed Mohieldin, responded that policemen confiscated his friends’ daughter’s crayons in case they were thinking of drawing a rainbow flag.
  • less than two years after seven people were arrested for raising a rainbow flag during a concert by Mashrou’ Leila in Cairo.
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  • Mashrou’ Leila was later banned by the Syndicate of Musical Professions from performing in Egypt for performing “abnormal art”.
  • police have often relied on anti-debauchery laws to arrest and detain both homosexuals and supporters of homosexuality on charges of debauchery, blasphemy and others. Similarly, private citizens have also raised lawsuits against a number of figures for promoting the rights of the LGBTIQ+ community.
Ed Webb

The Turbulent World of Middle East Soccer: Turning Qatar into an Island: Saudi cuts off... - 0 views

mideastsoccer.blogspot.sg/...ar-into-island-saudi-cuts.html

KSA Saudi Qatar GCC religion politics media territory

shared by Ed Webb on 13 Apr 18 - No Cached
  • There’s a cutting-off-the-nose-to-spite-the face aspect to a Saudi plan to turn Qatar into an island by digging a 60-kilometre ocean channel through the two countries’ land border that would accommodate a nuclear waste heap as well as a military base. If implemented, the channel would signal the kingdom’s belief that relations between the world’s only two Wahhabi states will not any time soon return to the projection of Gulf brotherhood that was the dominant theme prior to the United Arab Emirates-Saudi-led imposition in June of last year of a diplomatic and economic boycott of Qatar.
  • The message that notions of Gulf brotherhood are shallow at best is one that will be heard not only in Doha, but also in other capitals in the region
  • the nuclear waste dump and military base would be on the side of the channel that touches the Qatari border and would effectively constitute a Saudi outpost on the newly created island.
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  • The plan, to be funded by private Saudi and Emirati investors and executed by Egyptian firms that helped broaden the Suez Canal, also envisions the construction of five hotels, two ports and a free trade zone.
  • The $750 million project would have the dump ready for when Saudi Arabia inaugurates the first two of its 16 planned nuclear reactors in 2027. Saudi Arabia is reviewing proposals to build the reactors from US, Chinese, French, South Korean contractors and expects to award the projects in December.
  • Qatar’s more liberal Wahhabism of the sea contrasts starkly with the Wahhabism of the land that Prince Mohammed is seeking to reform. The crown prince made waves last year by lifting a ban on women’s driving, granting women the right to attend male sporting events in stadiums, and introducing modern forms of entertainment like, music, cinema and theatre – all long-standing fixtures of Qatari social life and of the ability to reform while maintaining autocratic rule.
  • A traditional Gulf state and a Wahhabi state to boot, Qatari conservatism was everything but a mirror image of Saudi Arabia’s long-standing puritan way of life. Qatar did not have a powerful religious establishment like the one in Saudi Arabia that Prince Mohammed has recently whipped into subservience, nor did it implement absolute gender segregation. Non-Muslims can practice their faith in their own houses of worship and were exempted from bans on alcohol and pork. Qatar became a sponsor of the arts and hosted the controversial state-owned Al Jazeera television network that revolutionized the region’s controlled media landscape and became one of the world’s foremost global English-language broadcasters.
  • Qatari conservatism is likely what Prince Mohammed would like to achieve even if that is something he is unlikely to acknowledge
  • “I consider myself a good Wahhabi and can still be modern, understanding Islam in an open way. We take into account the changes in the world,” Abdelhameed Al Ansari, the then dean of Qatar University’s College of Sharia, a leader of the paradigm shift, told The Wall Street Journal in 2002.
  • if built, the channel would suggest that geopolitical supremacy has replaced ultra-conservative, supremacist religious doctrine as a driver of the king-in-waiting’s policy
Ed Webb

'The Insult,' Lebanon's first Oscar-nominated film, examines a country's deepest wounds... - 0 views

www.pbs.org/...ines-a-countrys-deepest-wounds

Lebanon film media war identities sectarianism

shared by Ed Webb on 05 Mar 18 - No Cached
  • The film follows Yasser, a Palestinian construction worker who becomes embroiled in conflict with Toni, a right-wing Lebanese Christian, over a leaking water pipe. When Yasser confronts Toni about his grievances, Toni hurls back an insult that strikes sharply at the heart of the Palestinian struggle. The film examines the many forms our personal truths can take, how they collide, and the consequences of words in a polarized world.
  • It could happen like that in Lebanon. You could have a very silly incident that could develop into a national case.
  • we were fought because some people thought that we’re opening old wounds, and then all the people felt that, you know, we were defaming the Palestinians. Other people said we were attacking the Christians. Anytime you make a movie that is a bit sensitive — this one is a little bit more than a bit sensitive — people go up in arms. You know, they look at the film and then they immediately start projecting themselves and projecting their prejudices against it
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  • The subject came out of something I lived through, growing up in a war. Something that my co-screenwriter Joelle also lived through. It’s not like we read a book or based it on a TV interview on CNN. It’s something that we lived through, all the dynamics that you saw in the film, we are very familiar with it. You know, the Palestinian point of view, the Christian point of view. These are things that are so familiar to us. You know it’s this thing that we grew up eating and drinking and living. We were stopped at checkpoints, we hid under the bombs, we lived in shelters in Beirut in the 70s and the 80s and the 90s
  • We could have been such a lighthouse in the midst of all these other places around because we’re so interesting. Lebanon so interesting. But it’s sad that it does not fully use its potential. You know Christians, Muslims, Shiites, Sunni, liberal, it has all the potential of making a very, very interesting place
  • I had a lot of prejudice towards the Christians growing up. Like incredible. My parents were very left wing pro-Palestinian. And anybody from the Christian camp, from East Beirut, was considered a traitor, the enemy. And then you meet people from East Beirut, Christians, who were part of the Christian camp, and then you sit down and they work on your movie and and then you go have a drink and then you suddenly say, “Their story’s like mine, they suffered as much as [me].”
  • “The Insult” is about reexamining the other side. The woman who co-wrote the film with me who became my wife — we wrote four films together — she comes from the Christian camp. I come from [Muslim] West Beirut. She wrote all the scenes of the Palestinian. And I wrote the scenes of the Christians. We swapped.
  • every screening we do in the states, in Los Angeles in Telluride, in Toronto people were like so emotional about it. And then they said, “We totally identified because of what’s going on in the States today. We are living in America at a period where it feels like this entire society is tearing apart a bit.” And they look at the film and suddenly it’s speaking to them, even though that was not the intention.
  • Sometimes the country needs to go through a tear in order to heal better.
Ed Webb

Why is the Egyptian state monopolizing the entertainment industry? | openDemocracy - 0 views

www.opendemocracy.net/...olizing-entertainment-industry

Egypt cinema movies film media censorship military

shared by Ed Webb on 25 Jun 19 - Cached
  • Egyptian television series that aired during the peak Ramadan season this year dramatically decreased by half from previous production volumes. Production restrictions and censorship in the most populous Arab country are on the rise, tough circumstances for the entertainment industry, exacerbated by a military-linked production company’s recent monopoly of soap operas. The move also raises concerns about whether a similar fate might be in the works for the film industry.
  • In late 2018, a memo circulated to industry professionals by state affiliate Egyptian Media Company (EMC) laid out a set of regulations making it virtually impossible for almost any production company asides from EMC sub arm Synergy Production to produce soap operas in the 2019 Ramadan season
  • “We have to understand why Synergy is gaining this much control…it’s also very clear that some series [this year] have an almost didactic direction, promoting particular ideas such as improving the image of police officers. Mandating which themes are to be discussed and which won’t be is not censorship, its indoctrination,” Aly Mourad, the CEO of Al Shorouk for Media Productions, tells Open Democracy. “I don’t think we’ve heard of this level of censorship since the time of [Former President] Nasser; it’s like we are going back 60 years in time.”
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  • “What I fear is that this pool of currently unemployed talent will switch careers, which will come at the longtime expense of the industry since these are trained professionals. I do not believe that the military [Synergy] sees this; they simply have one clear goal: to control the industry. The government has effectively, through the institutions it runs, carried out the first monopolization process in the history of neoliberalism.”
  • In June 2018, the authorities banned a film examining a love affair between a Muslim man and a Christian woman before it hit the cinemas, although director Khaled Youssef said he obtained the necessary licenses. The decision was later revoked, but was alarming to many given rising censorship levels
  • While over fifty shows typically aired during the peak Ramadan season, even during economically turbulent years as in 2017 and 2018, only twenty-four shows aired last Ramadan, and over two-thirds of them are produced by Synergy. Production powerhouses like El Adl Group and Beelink Productions were notably absent this season from their regular Ramadan run, while regionally acclaimed megastars like Yossra, Adel Imam and Laila Elwy uncharacteristically did not star in any shows during the peak season either, likely due to the dramatic, forced budget cuts which make casting an A-lister virtually impossible. Compensation levels for many of these lead faces could often be as high as EGP 50 million (~USD 3 million), the currently imposed budget cap for aggregate production costs of a Ramadan soap opera’s full season
  • “For a producer, the direct client of drama series is television channels, and several factors have negatively impacted their purchasing power. The GCC-owned channels are struggling in light of the economic difficulties there, primarily due to the war in Yemen, so the main overseas market for selling television series is not that great. Add to this that privately owned channels in Egypt were never highly profitable, and media budgets generally were slashed with Egypt’s high inflation levels [during the past couple of years], and you have a situation where many production companies are struggling to stay afloat.”
  • Over the course of the past year, EMC CEO Tamer Morsy also gradually gained majority ownership of key television networks such as CBC, ONTV, DMC and Al-Hayat, a move facilitated through the recent launch of EMC affiliate United Group for Media Services. Moreover, state-owned entities effectively gained control of both the production and purchasing sides of the business as these unprecedented levels of regulation and government ownership were put in place.
  • in early May United Group for Media Services launched paid streaming app WatchiT and prohibited the longtime convention of shows airing online on YouTube for those who couldn’t catch them on satellite television channels. Widely accessed streaming app EgyBest, among other free online streaming services, were also blocked to allegedly mitigate “piracy”, granting government intelligence-affiliated WatchiT a monopoly over streaming services. Since digital finance and financial inclusion levels are low in the most populous Arab country, the decision came to the dismay of throes of viewers regardless of political affiliations or regulation concerns. For those following television series on satellite channels, short broadcast announcements interrupt episodes to denounce a May 28 Human Rights Watch report on enforced disappearances, killings and torture in North Sinai. Other broadcasts order audiences to pay heed to “threats to terrorism and national security.”
  • “Because these people [Synergy and EMC] are military men, their mentality is to cut off what doesn’t work, with little concern for the consequences. The military don’t understand or love the arts; they see it as just another industry they can profit off by minimizing losses.”
  • “It’s understandable that they [the military] would be more concerned with penetrating television production as opposed to the cinema industry, because viewership numbers are higher for television series in comparison to films. Not everyone can afford a cinema ticket, but most Egyptians, be they rich or poor, have access to a television set. There’s nothing to stop them from gaining as much control of the film industry as they have with television, but I believe they’re not investing in it [as much] because it isn’t as lucrative,”
  • Saudi Arabia is once again opening cinema theaters following a 35-year ban, creating a significant potential box office market for Egyptian films, particularly since plans for the inauguration of 2,000 theatres in the kingdom before 2020 are in the works
  • our country was once the Hollywood of the Middle East,”
  • There was a time when everyone in the Arab world recognized Umm Kalthoum and Ismail Yassin, even more so than [our own president] Nasser. We need to work towards reestablishing that, and understanding how entertainment can be used as a tool for soft power
Ed Webb

Online Photo Archive in Amman Is Making Thousands of Images Public, Showing Pluralistic... - 0 views

muftah.org/c-histories-of-the-middle-east

Jordan research history culture heritage images photographs photos archive

shared by Ed Webb on 01 Jan 18 - Cached
  • ACOR Photo Archive’s material is a unique collection due to the diversity of subjects it includes. It currently provides a representative record of Jordan’s archeological and social history spanning from 1955 to the early 2000s. Photos soon-to-be-digitized will feature subjects from the 1970s onwards in Syria, Yemen, Iraq, Saudi Arabia, Lebanon, Palestine, and Iran. Its historic photos of important sites are free to use and could be mobilized to support research proposals and grant applications.
  • The ACOR’s archival images are valuable as records of change for both archaeological-cultural heritage sites (more than two-hundred are represented in Jordan alone), as well as daily life in the Middle East over the past seventy years. Indeed, this record of change means that the archive has the potential to impact future heritage preservation projects across the region. They allow visual comparison with the past, thereby illustrating recent damage and helping experts and local communities decide how sites should be managed in the future.
  • NYU Abu Dhabi’s archive has an extensive collection of historic photos featured on its Instagram page (widening its popular appeal through more tongue-in-cheek posts). Darat al-Funun, an art gallery housed in Amman’s fashionable Jabal al-Webdeih district, also hosts an exhaustive online archive of video and images relating to the gallery’s exhibitions. It also features artist talks and musical performances over its almost thirty-year history. On a smaller scale, there are commendable efforts at documenting the modern visual heritage of the region, such as the Sultan-al-Qassemi-managed Instagram dedicated to highlighting the architectural heritage of the Emirate of Sharjah in the UAE. (You can check out ACOR’s instagram here.)
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  • the imperative to document and preserve the heritage of the Middle East, as it goes through another decade of dramatic aesthetic and political change. The stakes involved in these transformations are highlighted by the saddening example of Khaled Assad, director of antiquities at Palmyra Museum in Syria. Assad went to his grave in 2015 protecting the location of priceless artifacts under his care from ISIS
  • The ACOR Photo Archive also depicts the very forces threatening cultural heritage in the region. For example, it includes photographs of the archaeological digs of 1982 and 1983, in which the Ayn Ghazal statues – among the earliest large-scale depictions of human forms in the world (from the mid-7th millennia) – were unearthed in Jordan. As the photographs illustrate, the excavation site lay mere feet from the highway, highlighting the threats to physical cultural heritage posed by routine urbanization. Archeologist Gary Rollefson, a key member of the team that discovered the Ayn Ghazal statues, has participated in the digitization project, providing extensive background information on the digs catalogued in the archive.
  • By encouraging people to see their old family photographs as intimately connected to the public history of Jordan, Palestine, and the rest of the region, the archive aims to encourage citizens to take steps to preserve and digitize their own personal collections.
Ed Webb

Meet the new vanguard of Moroccan photography | Middle East Eye - 0 views

www.middleeasteye.net/...-photography-meet-new-vanguard

Morocco Photography photographs youth Iran representation

shared by Ed Webb on 28 Apr 21 - Cached
  • 14 emerging Moroccan photographers recently decided to form Noorseen, an art collective they hope will help them harness resources and share insights through the collaborative process
  • “A lot of visible works of photographers on Morocco have similar tropes; the picturesque medina, the traditional costumes, the portrait of an elder,” says 22-year-old Noorseen member Mehdi Aït El Mallali. “We want to show the other side, which is an expression of the Moroccan youth. We show Morocco through our own eyes, as a member of this society.”
  • “Throughout national and international exhibitions or festivals, the same few names represent Moroccan contemporary photography. Why can't we? Young photographers could take over, and we want to amplify our voice."
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  • “Instagram trivialised photography,” Beslem says. “It became a consumable product. Yes, it is a powerful tool. But when people judge a photograph based on likes, they end up reproducing popular gimmicks. This kind of conformism levels down the local scene. We want to stand out from it.”
  • By taking control of the narrative, Noorseen is breaking away from stereotypical depictions of Morocco that draw on a folkloric vision recreating a tourist’s fantasy.  “We take Iran as an example, a country that is riddled with stereotypes,” Moumou says. “But when you look at the works of young Iranian photographers, you discover how multifaceted and rich contemporary Iran really is, and you see unexpected images that only young Iranians could produce.
  • we’re always represented by others. We will be representing ourselves
Ed Webb

Egypt protests: How cartoon of Sisi the cat burglar became face of a movement | Middle ... - 0 views

www.middleeasteye.net/...tests-sisi-cat-burglar-ganzeer

Egypt Sisi cartoon art protest

shared by Ed Webb on 07 Oct 19 - No Cached
  • “I just wanted to pitch-in but I wasn't sure how,” says the 37-year-old street artist, who made his name in Cairo during the 2011 revolution against Hosni Mubarak.
  • “If I would were in Cairo now, I would have taken to the streets with graffiti, like I did in 2011. I kept on wondering: how can I participate in a concrete and positive way, and make it useful?"
  • On the morning of 20 September, Ganzeer woke up anxious. During the next few hours he drew the image that has quickly come to define a new wave of protests against the sitting president. In the illustration, Sisi is dressed in a striped jacket and tie, but drawn as a cartoonish cat burglar.
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  • Activists and protesters have added their own slogans to the cartoon, as well as printing it out, cutting it up, and turning it into masks, banners and posters. It has popped up at protests in New York, Washington, Berlin, Paris and Oslo - and even in the back alleys of Cairo.
  • Egypt has seen an outbreak of protests against Sisi since 20 September, when protesters took to the streets of Cairo and other cities, calling for him to step down.
  • the most public show of opposition to the president since a crackdown on dissent after the 2013 military coup that brought Sisi to power. Hundreds of protesters were killed by security forces in Rabaa Square, with tens of thousands more arrested and imprisoned
  • A new wave of repression has followed this month's protests, with more than 2,200 people arrested, according to local activists. Last Friday Egyptian security forces locked down the centre of Cairo and other cities to deter crowds from taking to the streets.
  • Activists say Ganzeer's image not only plugged into the rising anger on the streets; drawing Sisi as a burglar fundamentally stripped the president down from a so-called statesman to an ordinary, petty thug who had literally stolen the presidency and now the coffers of the state.
  • Ganzeer’s Twitter account was among those briefly suspended earlier this week.
  • Middle East Eye asked Twitter why it had suspended the accounts of Egyptian activists and whether it was investigating the closures.
  • Ganzeer says his Twitter account was reactivated a couple of hours after he filed his appeal, but he told MEE he believed he had faced a coordinated online attack since publishing the image of Sisi. “Since I released the image, I have had to spend a lot of time just blocking [trolls]. It has been coordinated with a number of suspicious handles and accounts that clearly began in September.”
  • "Some back home are complaining that people are ignoring the deaths and detentions and crackdowns and his attempt to stay in power and now talking about corruption. "But if you ask me, I think this wave of protest is about exposing Sisi as a liar from the inside - and you could say it's a key to opening up all the other lies."
Ed Webb

Television viewing and cognitive decline in older age: findings from the English Longit... - 0 views

www.nature.com/...s41598-019-39354-4

television TV health aging mental

shared by Ed Webb on 05 Jan 20 - No Cached
  • Watching television for more than 3.5 hours per day is associated with a dose-response decline in verbal memory over the following six years, independent of confounding variables. These results are found in particular amongst those with better cognition at baseline and are robust to a range of sensitivity analyses exploring reverse causality, differential non-response and stability of television viewing. Watching television is not longitudinally associated with changes in semantic fluency. Overall our results provide preliminary data to suggest that television viewing for more than 3.5 hours per day is related to cognitive decline.
  • Despite some such studies showing positive associations with language acquisition and visual motor skills in very young children2, many more studies have shown concerning cognitive associations including with poorer reading recognition, reading comprehension and maths3, and cognitive, language and motor developmental delays4,5. However, much less attention has been paid to the effects of television viewing at the other end of the lifespan. Indeed, despite it having been hypothesised for over 25 years that watching excessive television can contribute to the development of dementia1, this theory still remains underexplored empirically.
  • Watching television for more than 3.5 hours per day was associated with poorer verbal memory six years later with evidence of a dose-response relationship: greater hours of television per day were associated with poorer verbal memory at follow up (Table 2)
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  • When comparing the size of this negative association with other predictors of cognitive decline, watching television for >3.5 hours a day had a greater sized negative association (standardised beta = −0.034) than being in the lowest wealth quintile (as compared with the median quintile: standardised beta −0.027), while watching television for >7 hours a day had a greater sized association (standardized beta = −0.048) as being in the highest wealth quintile (compared with the median quintile: standardised beta = 0.043) or having no educational qualifications (standardized beta = −0.058).
  • associations between television viewing and verbal memory remained even when considering a range of variables relating to sedentary behaviours, suggesting that it is not just the sedentary nature of television watching that is responsible for its relationship with cognition.
  • Television involves fast-paced changes in images, sounds and action and, unlike other screen-based activities such as internet use and gaming, television is the most passive way of receiving such stimuli
  • television leads to a more alert but less focused brain
  • In addition to any potential cognitive stress created through the alert-passive interaction while watching television, the content of the programme itself can be stressful, such as through the depiction of graphic scenes, violence or the creation of suspense. Analyses of UK television from 2001–2013 (covering the country and much of the period of the data collection for the study reported here) have shown between 2.1 and 11.5 violent scenes per hour in UK soap operas, with 40% of these being categorised as moderate or strong violence22. It has even been proposed that the vividness of such experiences is greater than real-world experiences of events such as violence, conflict or disasters, as the drama is enhanced for entertainment purposes23. Chronic stress is known to lead to increased levels of glucocorticoids, which can have a direct effect on the hippocampus due to the presence of glucocorticoid receptors in that region of the brain. Consequently, stress has been shown to lead to atrophy of the hippocampus and impaired neurogenesis24, alongside impairments in cognition25.
  • excessive television could be linked with verbal memory through displacing other, cognitively beneficial activities such as playing board games, reading and engaging with cultural activities11,26. This theory implies that the relationship between television viewing and memory is not entirely down to television having negative effects per se, but rather television reducing the amount of time that people spend on more activities that could contribute to cognitive preservation
  • This study is not suggesting that watching television in older adulthood confers no benefits. Indeed, research with adults has suggested that TV dramas in comparison with TV documentaries can increase performance in tests of theory of mind, suggesting that television can enhance understanding of others27. Educational television can be an efficient way of learning when programmes are designed appropriately28. Television has also been shown to be a form of escapism from difficult life circumstances29. Further, research investing the effects of television viewing in the context of people’s daily lives has found that adults routinely report television as a means of relaxing30 (although this should be considered in relation to the potentially stress-inducing effects of television viewing discussed earlier). Nevertheless, this study suggests that watching substantial amounts of television is longitudinally associated with poorer verbal memory in older adults.
  • it remains unclear whether television viewing might affect other components of executive function
Ed Webb

'The End': Anti-normalisation, Islamofuturism and the erasure of Palestine - Middle Eas... - 0 views

www.middleeastmonitor.com/m-and-the-erasure-of-palestine

media TV television Ramadan Egypt Palestine

shared by Ed Webb on 20 May 20 - Cached
  • The End (El-Nehaya), the Egyptian dystopian science fiction thriller series, has captured the imagination of audiences throughout the Arab world this Ramadan TV season. It is ranked the third most popular series this season, and has generated a lot of discussion in social media about its futuristic technology and debt to Hollywood science fiction and dystopian films.The End was also lumped into the debate over normalisation in this year’s Ramadanic TV programming and was attacked by the Israeli Foreign Ministry for its anti-normalisation stance. The End is premised on the fictional idea that the Arab world would become a superpower and that Israel would be destroyed less than a century into its establishment — that is, in less than thirty years. In its place, Al-Quds conglomerate will be created and will be under total Arab control.
  • Some contrasted the daring futuristic scenario with the utter impotence of the Arab world today, to offer any viable solution to the Palestinian struggle for freedom and the ongoing Nakba. Others thought it was enough that the series managed to provoke and infuriate Israel.
  • The series does not only substitute one form of domination in Al-Quds conglomerate for another. More importantly, the Palestinians are completely erased from Al-Quds conglomerate itself.
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  • Ironically, the liquidation of Israel in The End did not bring an end to the oppression in Palestine or the Arab world in general.  Around 2090, Al-Quds conglomerate became the main site for a robocide, the genocide in which humans eliminated all robots after one of them terminated its owner. Consequently, laws were passed to ban the production of robots and the development of AI. The series merely substitutes one form of domination and apartheid for another.After the elimination of the majority of the robots, the all-powerful Energy Co. was established in Al-Quds conglomerate. The corporation employs algorithmic governance, using surveillance technology, facial recognition software and military drones to track and control citizens. Its security forces regularly attack and brutalise citizens. One form of oppression is gone, but Palestine and the Arab world do not live in liberty yet.
  • The most bewildering aspect about this triumphalist history of the liberation of Al-Quds conglomerate in the dystopian world of the series, is the absence of any trace of the Palestinians or Palestinian culture. The obverse side of the obliteration of Israel seems to be the erasure of the Palestinians.
  • The people who live in Al-Quds conglomerate speak Egyptian colloquial Arabic, and no one seems to be taking pride in their Arabic cultural heritage or Palestinian identity.
  • The other noticeable feature about the representation of life in Al-Quds conglomerate is its patriarchal gender politics. Women and men follow a rigid division of labour, even professional women who have careers. Radwa, the protagonist’s wife, works as the principal (agricultural) engineer at Green Co., the company responsible for providing food supplies to Al-Quds conglomerate, but she has to perform the domestic chores in the house.
  • the dystopian world of the series is deeply steeped in Islamic culture and traditions. If Afrofuturism, for example, is “rooted in and unapologetically celebrate[s] the uniqueness and innovation of black culture,” this series is clearly grounded in Islamofuturism.
  • The series illuminates and raises questions about these significant matters that have affected humanity in the last few decades. These issues include not only the polarisation of wealth and the cupola created in the global apartheid, but also neoliberal algorithmic governance, the naturalisation of AI (as both human surrogates and sex bots), the rise of megalopolis cities as corporations, renewable energy and ecological sustainability.
  • it is not clear where the series positions itself on the question of the state and the military.
  • the series itself is produced by Synergy, a mega-entertainment production house that has monopolised the Egyptian media sector and has ties to Egyptian intelligence.
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