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As previously mentioned at the end of last week’s article, I will begin to trace how Egyptian cinema has talked about spaces where narratives of victimisation are produced and contested. Here, I would like to ask two main questions: what are the features of the space in which “victims” are situated? And how can the …
In the previous two articles of this series, I highlighted how the representation of the victim figure is made possible either by the formation or the deformation of a relationship with the victimised person. I discussed how the invisibility of the victim is broken amid a fundamental change that occurs in the nature of human …
Two weeks ago, I wrote about an intimate human relationship coincidently formed between a hero who is imperfect and a victim who is misrepresented and unrepresented in Atef El-Tayeb’s Against the Government (1992). As a follow-up in this week’s article, I would like to refer to another film that holds an unstable relation between a …
Our hero is imperfect. He is not one of those idols whose footsteps we will be advised to follow in our everyday lives. In cultural terms, he is unclean. He does not look after the shape of his hair and beard. He shows us, and has once said, that he does not like to shave …