State Feminism and Film: Redefining Egyptian Womanhood After a Revolution

• In Event: 216 - Regular Session. Gender in the Muslim World: New Perspectives

Abstract

“State Feminism and Film: Redefining Egyptian Womanhood After a Revolution”

In post-colonial nations, newly formed governments often attempt to re/shape national identity and citizenship through state processes. It engages in this process in order to consolidate its power, establish its legitimacy, and prove its ability to modernize on its own. After the 1952 revolution, Egypt became an independent state set to do the above.
Films used to influence, reflect, and shape social values and beliefs. In Egypt, studying popular films serves two purposes. First, as state-funded projects, films inform us about the state’s agenda. Second, since they were commercial in nature they reveal issues that appealed to the masses. Filmmakers blended state propaganda messages with experiences that resonated with people. Egyptian films of the 1950s and 60s reflect some of society’s struggles and reactions to new government policies following the 1952 revolution.
This study is about middle class women and their response to social change. The films in this study were produced during the height of state feminism and the film industry between 1957and 1967(Bier 2004, 2006; Hatem 1991, 1992, 1994, 1999; Shafik 2007). I use in depth text and plot analysis of four popular Arabic full-length feature films: Mother of the Bride (1963), A Film for Men Only (1964), A Diary of a Student (1962), and The Empty Pillow (1957). They reveal women’s struggle to balance the state’s notions of modern womanhood (i.e., educated, politically active, and employed) and traditional gender roles (i.e., wife, daughter, stay-at home mother).

Author

• Maro Youssef, University of Texas at Austin