Issue 23, winter/spring 2017 https://doi.org/10.70090/MMK17BEC In the wake of the Arab uprisings, journalists, activists, and scholars coupled creative with revolution (or dissent, protest, resistance) to describe political graffiti, rap, art, and video. Distinguished institutions, from the Prince Claus Fund of the Netherlands to the Arab American National Museum in Dearborn, …

Issue 23, winter/spring 2017 https://doi.org/10.70090/MEN17FDC د.مصطفى النمر- أستاذ مساعد بكلية الإعلام والاتصال، جامعة الإمام بالرياض، المملكة العربية السعودية. صدر مؤخراً عن دار العربي للنشر والتوزيع بالقاهرة كتاباً تحت عنوان: الدراما الأجنبية وانحرافات المراهقين السلوكية، يستعرض فيه الباحث دراسة علمية ترصد العلاقة بين تأثير الدراما الأجنبية والبناء الثقافى لدى المراهقين، حيث ذهب الكتاب …

Issue 23, winter/spring 2017 https://doi.org/10.70090/RARB17RA In an article published on December 17, 2014, Surti Singh, an Assistant Professor of Philosophy at the American University in Cairo (AUC), wrote that “a new set of questions is crystallizing about the role of art in contemporary Egypt” and posed the following questions: “Can …

Issue 23, winter/spring 2017 https://doi.org/10.70090/CG17TIPD  Abstract The article deciphers the symbolic deconstruction of the Israeli Indignant Protest (2011–2012) on behalf of the local cultural simulacrum—based on Zionist narratives of Judaism. It presents, through the subjective eye of a participant observer, the symbolic paradigm by which the protest opened its way …

Issue 23, winter/spring 2017 https://doi.org/10.70090/GA1710AF The following is an excerpt from the anthology Ten Arab Filmmakers edited by Josef Gugler and published by Indiana University Press (2015). Mohamed Chouikh occupies a key position as a kind of relay between the post-colonial, idealized Algeria of the 1960s and what one might …

Issue 23, winter/spring 2017 https://doi.org/10.70090/AFH17FRI Anna Rousillion’s feature documentary I Am the People follows Farraj and his family through four tumultuous years in Egyptian history, beginning just before revolution and chronicling their lives in its aftermath. Farraj, the film’s protagonist, is a wiry farmer in the southern province of Luxor, …

Issue 23, winter/spring 2017 https://doi.org/10.70090/SAEB17TD   د. ثريا أحمد البدوى- أستاذ بكلية الإعلام، جامعة القاهرة يرتكز مفهوم الهوية الاجتماعية على السياق الثقافي والاجتماعي للمجتمع؛ حيث ترتبط عملية تعزيز الهوية بقنوات التنشئة الاجتماعية وتكنولوجيا الاتصال المجتمعية اللذين يسهمان فى الحفاظ على تماسك المجتمع، ويقويان الشعور بالانتماء، ويرفعان من معدلات المشاركة النشطة. فى …

Issue 23, winter/spring 2017 https://doi.org/10.70090/CEK17SCF This essay is part of an ethnographic study of Egyptian film production conducted between August 2013 and September 2015. The study is centered on participant observation within two main film companies, New Century Film Production and Al-Batrik Art Production, in addition to interviews conducted with …

Any attempt to write an account of popular culture in the Middle East must face the question of how to define Arab and the Arabs? This might seem an odd statement at first glance: some 350 million people speak the language, ergo they are Arabs, and Arab, the Arabs, the …

Issue 23, winter/spring 2017 https://doi.org/10.70090/MHG17MEC د. محرز حسين غالي- أستاذ الصحافة المساعد بكلية الإعلام جامعة القاهرة. يدور موضوع هذه الدراسة حول تأثير التحولات في ثقافة غرف الأخبار والبيئة التنظيمية الجديدة على أجندة الاتجاهات العالمية الحديثة في بحوث إدارة المؤسسات الصحفية واقتصادياتها في المجتمعات المعاصرة، في إطار المداس الأكاديمية المختلفة، وذلك من …