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The Israel they represent is more religious and less beholden to the values and inheritances of the old, Europeanized elite and its dwindling left

This month, the left-leaning daily Haaretz highlighted internal discussions in the ministry about what artistic works might be considered “politically undesirable” for high-school students. Among the criteria, the newspaper said, were whether artists would perform in West Bank settlements and declare loyalty to the state and to the national anthem, something that is particularly problematic for Israel’s Arab citizens.Internal discussions are not policy, but even this report drew stinging responses, with Oded Kotler, a prominent Israeli actor and director, comparing Israel to the Soviet Union and telling Israel Radio, “There’s a real culture war underway here, but the war from that side of the political map is a harbinger of zealotry, darkness and coercion.”Mr. Kotler infuriated the government and the political right last summer when he compared its supporters to “cud-chewing cattle.” That was in response to Ms. Regev’s effort to freeze state funding for an Arab theater in Haifa because of a play about a Palestinian prisoner who murders an Israeli soldier. The production, “Parallel Time,” had enraged the right and Mr. Bennett banned school trips to see it.

Mr. Bennett, for his part, overruled ministry experts to ban from high-school reading lists a novel about a romance between an Israeli woman and a Palestinian man, apparently out of fear that it promotes assimilation. The romance takes place abroad; the pair splits up when they return home, to Israel and the West Bank. Mr. Bennett said the novel, “Borderlife,” by Dorit Rabinyan, disparaged the Israeli military, and the head of his ministerial committee said it “could incite hatred and cause emotional storms” in classrooms.The debate about the book actually increased its sales, something Ms. Rabinyan credited in an interview to “the strength of Israeli democracy.”

The novel begins with the Israeli woman, who is Sephardic, coming under suspicion of terrorism in New York over her “Arab” appearance and because she writes from right to left. “This is the bond that connects her to the Palestinian,” Ms. Rabinyan explained. “I don’t consider my Israeliness to be hegemonic.”

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.

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.

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.

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.

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. 

“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.

Facebook’s newsfeed played a central role in nearly every step from rumor to killing

Facebook officials, they say, ignored repeated warnings of the potential for violence, resisting pressure to hire moderators or establish emergency points of contact

the imagined Ampara, which exists in rumors and memes on Sinhalese-speaking Facebook, is the shadowy epicenter of a Muslim plot to sterilize and destroy Sri Lanka’s Sinhalese majority

The mob, hearing confirmation, beat him, destroyed the shop and set fire to the local mosque.

As Facebook pushes into developing countries, it tends to be initially received as a force for good.In Sri Lanka, it keeps families in touch even as many work abroad. It provides for unprecedented open expression and access to information. Government officials say it was essential for the democratic transition that swept them into office in 2015.But where institutions are weak or undeveloped, Facebook’s newsfeed can inadvertently amplify dangerous tendencies. Designed to maximize user time on site, it promotes whatever wins the most attention. Posts that tap into negative, primal emotions like anger or fear, studies have found, produce the highest engagement, and so proliferate

in developing countries, Facebook is often perceived as synonymous with the internet and reputable sources are scarce, allowing emotionally charged rumors to run rampant

Last year, in rural Indonesia, rumors spread on Facebook and WhatsApp, a Facebook-owned messaging tool, that gangs were kidnapping local children and selling their organs. Some messages included photos of dismembered bodies or fake police fliers. Almost immediately, locals in nine villages lynched outsiders they suspected of coming for their children.

Near-identical social media rumors have also led to attacks in India and Mexico. Lynchings are increasingly filmed and posted back to Facebook, where they go viral as grisly tutorials

No organization has ever had to police billions of users in a panoply of languages.

Before Facebook, he said, officials facing communal violence “could ask media heads to be sensible, they could have their own media strategy.”

Desperate, the researchers flagged the video and subsequent posts using Facebook’s on-site reporting tool.Though they and government officials had repeatedly asked Facebook to establish direct lines, the company had insisted this tool would be sufficient, they said. But nearly every report got the same response: the content did not violate Facebook’s standards. Advertisement Continue reading the main story “You report to Facebook, they do nothing,” one of the researchers, Amalini De Sayrah, said. “There’s incitements to violence against entire communities and Facebook says it doesn’t violate community standards.”

Facebook still appears to employ few Sinhalese moderators. A call to a third-party employment service revealed that around 25 Sinhalese moderator openings, first listed last June, remain unfilled. The jobs are based in India, which has few Sinhalese speakers.

“We’re a society, we’re not just a market.”

Its gamelike interface rewards engagement, delivering a dopamine boost when users accrue likes and responses, training users to indulge behaviors that win affirmation.

the greatest rush comes by attacking outsiders: The other sports team. The other political party. The ethnic minority.

Mass media has long been used to mobilize mass violence. Facebook, by democratizing communication tools, gives anyone with a smartphone the ability to broadcast hate.

Mr. Weerasinghe posted a video that showed him walking the shops of a town called Digana, warning that too many were owned by Muslims, urging Sinhalese to take the town back. The researchers in Colombo reported his video to Facebook, along with his earlier posts, but all remained online.

the government temporarily blocked most social media. Only then did Facebook representatives get in touch with Sri Lankan officials, they say. Mr. Weerasinghe’s page was closed the same day.

officials rushed out statements debunking the sterilization rumors but could not match Facebook’s influence

Despite criticism and concerns from civil society groups, the company has done little to change its strategy of pushing into developing societies with weak institutions and histories of social instability, opening up information spaces where anger and fear often can dominate

From October to March, Facebook presented users in six countries, including Sri Lanka, with a separate newsfeed prioritizing content from friends and family. Posts by professional media were hidden away on another tab.“While this experiment lasted, many of us missed out on the bigger picture, on more credible news,” said Nalaka Gunawardene, a Sri Lankan media analyst. “It’s possible that this experiment inadvertently spread hate views in these six countries.”

government officials said, they face the same problem as before. Facebook wields enormous influence over their society, but they have little over Facebook.

Facebook had turned him into a national villain. It helped destroy his business, sending his family deeply into debt. And it had nearly gotten him killed.But he refused to abandon the platform. With long, empty days in hiding, he said, “I have more time and I look at Facebook much more.”“It’s not that I have more faith that social media is accurate, but you have to spend time and money to go to the market to get a newspaper,” he said. “I can just open my phone and get the news instead.”“Whether it’s wrong or right, it’s what I read.”

“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

because of the rising influence of orthodox interpretations of the faith, stambeli artists are careful to stress the monotheistic, Islamic essence of their practice

The origins of stambeli music resemble those of American jazz (even though the two genres don’t sound alike). In both cases, the musical traditions of former slaves combined with the diverse cultural influences of their new environments to create something radically new. Whereas slaves arriving in Louisiana mixed their music and practices with European, Caribbean, and American ingredients, slaves arriving in Tunis during the same period fused their animist practices with North African versions of mystical Sufism and orthodox Islam. Mounir Argui, a theater director and music producer who works with Bidali, says that the metal castanets that play such a prominent role in stambeli performances evoke “the sounds of chains and shackles” that the slaves once wore, while the chanting recalls the “moaning.”

the Tunisian state never prioritized the preservation of stambeli, focusing instead on the art and culture it considered highbrow

Many Tunisians see stambeli as an alien phenomenon associated with blacks, who are already widely viewed as not quite Tunisian. In post-revolutionary Tunisia, where asserting the Islamic character of the country has become an important political symbol for some, the pagan origins of stambeli also cause suspicion

As long as some Tunisians continue to see freedom of religion and freedom of art as mutually exclusive, the rare traditions like stambeli that manage to straddle both will find little space

Within Sisi’s approach to Islam, censorship remains key. In addition to going after the Muslim Brotherhood, he has locked up thousands of youth and other perceived dissidents. His brutal crackdown has ensnared over 40,000 prisoners of different political stripes. In the security-first mindset of the Sisi regime, writers and other dissidents pose a considerable threat: They have the ability to make the larger population question his policies

Fahmy is optimistic that the current repressive period is already creating burgeoning subversive spaces of critical resistance. “Within the readership there actually is a more healthy and critical reception of books and engagement with them [than before]. The reading public hasn’t expanded but deepened.”

two powerful ayatollahs in Iran would like to see the project nipped in the bud, saying Sufism is a deviation from Shiite Islam and any attempt to promote or spread it with a movie would be "haram"

Part of the opposition to the film is based on the fact that it is a co-production with Turkey. A group of experts and journalists stated their opposition to the Rumi and Shams movie owing to the presence of a Turkish producer behind the film, implying that the two countries — both of which claim the heritage of Rumi — have different interpretations on the life and works of the mystic poet.

Members of the hadith current have issued fatwas against mystics repeatedly. For example, a summit in Qom in 2007 declared Rumi a heretic.

The country’s culture minister, Abbas Salehi, a cleric who doesn’t wear a turban, told reporters after the Sept. 25 Cabinet meeting that while the opinions of marjas — the highest Shiite authorities — should be respected, “the country has its own laws.” This was taken to mean that the making of the film would not be prohibited because of the objections. So far, there are no indications that the movie is being obstructed by Tehran.

“Drunk on Love” is not the only controversy in Iran over films that deal with religious figures. In September, member of parliament Ali Motahari called on authorities to permit the movie “Hussein Who Said No” to be screened in cinema and theaters across the country. The movie, which has been banned for seven years, narrates the story of battle of Karbala in the year 680, where the third imam of the Shiites, Hussein ibn Ali, and 72 male companions were killed by Caliph Yazid ibn Muawiya’s army. “The main obstacle [in the way] of receiving the screening permit has been the portrayal of the face of ‘Abbas’ that I believe has no religious problem,” Motahari wrote on his Instagram page Sept. 23. Motahari said Abbas ibn Ali — the half-brother of Hussein — is not one of the sacred Shiite imams, which means the portrayal of his face should not be prohibited.

The effects of these suspensions was not just hiding a set of tweets critical of the government, but completely disabling the influence network of Egypt’s dissidents. This is potentially the first documented politically motivated mass shutdown of twitter accounts at a time when online interaction was high and translated to possible action on the ground

accusations are not limited to Egypt but the entire region who have a sense that being critical of their governments was met with punitive measures by Twitter against them

many of those suspensions had a common denominator: being critical of the Egyptian government

suspensions seemed to have happened around late September and lasted from one day to a few days. In many cases Twitter had responded that they had suspended the accounts by mistake. The accounts affected varied from having a few followers to hundreds of thousands

a trending anti-Sisi hashtag disappeared suddenly in July 2018, and then later on in 2019. It didn’t help either to find that an officer in the British Army information warfare unit was head of editorial in Twitter for the MENA region.

I interviewed @OfficialAmro1, a user affected by mass suspensions with over 265K followers and 115K tweets. He was suspended without cause and added, “I don’t even curse.”To which I foolishly replied, “Cursing would not suspend your account, particularly if directed against a public figure. Incitement will.”“No, now it does,” he replied. He also added that if you criticize a figure loyal to the Arab regimes, you can get your account locked or suspended.

The 'hateful conduct' policy as defined by Twitter states: You may not promote violence against or directly attack or threaten other people on the basis of race, ethnicity, national origin, sexual orientation, gender, gender identity, religious affiliation, age, disability, or serious disease.Analyzing the message contents that were flagged for hateful conduct I saw that most did not violate Twitter’s rules. Soon I began to discover that what @OfficialAmro1 had told me was true. The content I was seeing contained profanity. But that wasn’t the whole story.Arabic curse words are used often. I sampled around a little under 50 claims, with over 30 screenshots that contain Twitter’s email identifying the violating tweet. It was clear that profanity alone was not causing the suspensions.

Tragically funnier still are those who were joking around with their friends using their usual language that has profanities @ism3lawy_ ended up cursing Egypt’s Zamalek football club and for that his account was suspended permanently along with that of one of his friends. In a separate conversation, his friend @EHAB_M0 was also joking around with his friends and eventually got a permanent suspension.

Within seconds of my post, the algorithm identified the curse words and locked my account for 12 hours. It was my first violation ever. The irony of documenting this as a reply to the platform’s account is probably lost on them.

the most dangerous and disconcerting of my findings is that the appeal system in Twitter for MENA is broken.

Even things like talking about prostitution can get you banned

There is an element of guardianship that is present in despotic Arab regimes, and that moral guardianship is reflected in the algorithm by Twitter as was shown through the numerous examples above.

With my limited access to Twitter’s data, I have found nearly 20 accounts probably wrongfully and permanently suspended. I imagine hundreds or even thousands more have been kicked off the platform.

“Thank you for trying to help make Twitter a free space once again.”