Negotiating Modernity and Islam in pre-1952 Egyptian Cinema

Heba Arafa Abdelfattah
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Abstract

Abstract:A quick glance at Egyptian films before the 1952 revolution can easily lead to conclusions that modernity in Egypt emerged as a predominately secular domain that is anti-religion. But a closer look at screenwriting tools reveals that Islam served as a substratum of everyday life practices of film characters. This essay sheds light on metaphors representing Islam in the cinematic critique of modernity by drawing on selected scenes from the popular classics Talaq Su'ad Hanim/The Divorce of Lady Su'ad, directed by Anwar Wajdi [Wagdi], 1948, and al-Zawja al-Sabi'a/The Seventh Wife, directed by Muhammad 'Imara, 1950. The two films enjoy a visible presence in Egyptian popular culture until today. Both critique how the materialization of modernity among the Cairene bourgeoisie leads to the appropriation of metaphors representing Islam, such as Islamic legal tradition, to sustain a class hierarchy thriving on colonization and war. The two films present an expanding trajectory and direction of female agency in response to the appropriation of Islamic personal law for divorce amid film characters who are depicted as caricatures of modernity. In so doing, these early films recognize how religion did not shrink or diminish under the pressures of modernization; they are examples of how cinema serves as a supplemental secular public sphere that is not anti-religion—one which accentuates the crucial difference between Islam as a faith, Islam as an ideology and Islam as a body of legal knowledge that has the vital semantic potentials to be translated into secular idioms, and in a "universally accessible language." More notably, the films underscore the importance of decoding the ethical intuitions of religious traditions which could be incorporated into a "post-secular" stance that finds an ally in religious sources of meaning in challenging the forces of global capitalism. And above all, the films show that such a task falls not only to experts and religious citizens but also to all citizens engaged in the public use of reason.
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1952年前埃及电影中的现代性与伊斯兰谈判
摘要:快速浏览一下1952年革命前的埃及电影,很容易得出这样的结论:埃及的现代性是以反宗教的世俗领域为主导的。但仔细观察剧本创作工具就会发现,伊斯兰教是电影人物日常生活实践的基础。本文通过选取流行经典影片《塔拉克·苏阿德·哈尼姆》(1948年,由安瓦尔·瓦伊迪执导)和《第七任妻子》(1950年,由穆罕默德·伊马拉执导)中的一些场景,揭示了现代电影批判中代表伊斯兰教的隐喻。直到今天,这两部电影仍在埃及流行文化中占有一席之地。两者都批判了开罗资产阶级的现代性物质化如何导致了代表伊斯兰的隐喻的挪用,比如伊斯兰法律传统,以维持在殖民和战争中蓬勃发展的阶级等级。这两部电影呈现了女性代理的扩展轨迹和方向,以回应在电影角色中被描绘成现代性讽刺的伊斯兰个人法对离婚的挪用。在这样做的过程中,这些早期电影认识到宗教在现代化的压力下并没有萎缩或减少;它们是电影如何作为一个补充世俗公共领域而不是反宗教的例子——它强调了伊斯兰作为一种信仰、一种意识形态和一种法律知识体系之间的关键区别,伊斯兰作为一种法律知识体系具有重要的语义潜力,可以被翻译成世俗的习语,并以一种“普遍可及的语言”。更值得注意的是,这些电影强调了解读宗教传统的道德直觉的重要性,这些传统可以被纳入“后世俗”立场,在挑战全球资本主义力量的过程中,找到宗教意义来源的盟友。最重要的是,这些电影表明,这样的任务不仅落在专家和宗教公民身上,而且落在所有从事公共理性运用的公民身上。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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