The Changing Portrayal of Dancers in Egyptian Films
Bibliographic Data
| ID | 12896293 |
|---|---|
| Authors | Carolina Bracco (0000-0003-2492-0082, Universidad de Buenos Aires, corresponding author) |
| Year | 2019 |
| Volume | 14 |
| Issue | 1 |
| Pages | 6-22 |
| Publication date | 2019-06-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Anthropology of the Middle East (JOURNAL) |
| Journal identifiers | ISSN: 1746-0719 • E-ISSN: 1746-0727 |
| Publisher | Berghahn Books (PUBLISHER • GB) |
| DOI | 10.3167/ame.2019.140102 |
| OpenAlex | W2979319368 |
| Language | EN |
| References cited | 4 |
This article examines the projected image of dancers in Egyptian cinema. The historical background includes the last period of the Farouk monarchy, the revolution of the Free Officers Movement and the Nasser regime, ending with Nasser’s death in 1970, when a new social and political era started blossoming. I consider the socio-political changes and their cultural repercussions as part of a dialectic relationship that affects the portrayal of dancers in three films: The Lady’s Puppet (1946), My Dark Darling (1958) and Pay Attention to Zuzu (1972). By examining Carioca’s roles in these films, I argue socio-political changes in Egypt have been projected on the image of the dancer while also changing it: she is first seen as a working woman, then as an evil woman and finally as a marginalised woman
Aesthetics · Art · Art history · Dialectic · Monarchy · Movie theater · Period (music · Political science · Politics · Sociology · Cinema and Media Studies · Gender Studies · History · Jewish and Middle Eastern Studies · Law · Middle East Politics and Society · Philosophy
| Citation velocity | historical |
|---|---|
| Highly cited | No |