{"title":"Rejecting the Ottomans, Revisiting the Mamluks","authors":"Yasmine M. Ahmed, Claire Panetta","doi":"10.1163/18739865-01602007","DOIUrl":"https://doi.org/10.1163/18739865-01602007","url":null,"abstract":"\u0000 This article queries the sociopolitical implications of a wave of popular interest in the legacy of the Mamluk dynasty (1250–1517) in post-2013 Egypt. Although the era’s sultans have traditionally been derided in mainstream culture as tyrannical ‘foreign’ leaders, they have recently been reframed as the last nationalist rulers before the Ottoman invasion. This revised characterization underpins the newfound fascination with their socio-political legacy, which has manifested in various cultural productions, including a new television series, Mamalik al-Nar (Kingdoms of Fire). In this article, we analyze the show’s content, its popularity in Egypt, the debates it has generated on social media and the regional production and distribution networks in which it is embedded. Through this analysis, we argue that the series—and the Mamluk ‘revivalism’ to which it is connected—is part of an unresolved debate about what it means to be Egyptian today.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45404168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Precarity and Possibility","authors":"Blake Atwood","doi":"10.1163/18739865-01602003","DOIUrl":"https://doi.org/10.1163/18739865-01602003","url":null,"abstract":"\u0000 At first glance, Iran and Lebanon may appear to have very little in common when it comes to state intervention in the media economy. The Iranian government oversees nearly every aspect of media production, distribution, and exhibition, while the Lebanese state exercises relatively little oversight of media and offers no financial or infrastructural support to the country’s robust creative industries. Given the divergent approaches to regulating media in Iran and Lebanon, we might expect each to yield vastly different media labor conditions. Yet in this article, I argue the opposite. I demonstrate how the two extremes foster informal labor practices that are remarkably similar. By bringing together these two unlikely case studies, I advocate for informality as a constitutive feature of Middle Eastern media. Such a claim expands the growing body of scholarship on media labor by accounting for the triangulation of informality, state regulation, and worker subjectivity.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43575592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Using the Clubhouse Platform in Politics","authors":"Y. Al-Kandari, Khaled H. Alqahs","doi":"10.1163/18739865-tat00007","DOIUrl":"https://doi.org/10.1163/18739865-tat00007","url":null,"abstract":"\u0000 This study analyses the political aspects of the Clubhouse platform used in Kuwait as an emerging social media. An e-questionnaire considering demographical variables and scales was distributed, and 1,539 social media users in Kuwait were surveyed. SPSS (version 24) was used for data entry and analysis. Data showed a difference in the percentages of males and females using this platform without significantly changing the degree of use. There were variations in the use of the Clubhouse platform regarding political news. Additionally, positive relationships exist between the degree of using the Clubhouse platform and new and traditional media covering political news on related platforms. Results indicated that date of birth, educational level and the use of radio broadcasting, Facebook, Snapchat and Twitter were factors impacting activity on the Clubhouse platform. The data in this study demonstrates how new media has been adapted to political affairs and concerns in Kuwait. Although Clubhouse is new, with fewer social media users, it has been characterized by political social media users, and COVID-19 could be one of the reasons.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41975323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Subtitling Taboo Expressions from a Conservative to a More Liberal Culture","authors":"Ahmad S. Haider, Bassam Saideen, R. Hussein","doi":"10.1163/18739865-tat00006","DOIUrl":"https://doi.org/10.1163/18739865-tat00006","url":null,"abstract":"\u0000 Subtitling involves constraints about differences between cultures. This requires a set of translation strategies, especially when subtitling from relatively conservative to more liberal cultures. This study explores subtitlers’ strategies when translating the Jordanian Arabic vernacular series Jinn into English. Jinn has been selected because it’s Netflix’s first Arabic-Jordanian series containing explicit scenes and inappropriate language. Further culture-bound expressions were classified according to their connotative functions. The findings demonstrated that subtitlers used various strategies to render culture-bound expressions from Arabic into English. These include translating the source culture taboo to a target culture taboo of the same, higher or lower intensity levels. The findings also revealed that ‘unfriendly suggestions’ and ‘noun supports’ were the most frequently targeted connotative functions of the swear words. The research recommends additional studies on subtitling movies and series cross-culture.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48410186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Equal in Death?","authors":"Yousra Sbaihi","doi":"10.1163/18739865-tat00008","DOIUrl":"https://doi.org/10.1163/18739865-tat00008","url":null,"abstract":"\u0000 The COVID-19 pandemic has sparked new perceptions of death—dying has lost its disinterestedness and transpired to be a site of cultural, existential and political struggles, despite efforts to shelve the idea of an unavoidable death from everyday life. Moroccan media, in particular, has centered its focus on mass burials, over-crowded hospitals and spiraling death rates to amplify citizens’ fear of death and thereby coerce them to stay at home in concert with the WHO guidelines. Given their physical and emotional proximity to the virus, this article zooms in on semi-structured narrative interviews with COVID-19 patients from Fez, Morocco, to analyze the implication of their pre-, during- and post-contamination experiences on the novel perceptions of death and dying. It arrives at a pivotal result: the return of symbolic immortality upon recovery when ex-patients become heroes who have succeeded in sidestepping the horror that the media worked untiringly to convey.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42752966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Violent Story","authors":"H. Taheri","doi":"10.1163/18739865-tat00005","DOIUrl":"https://doi.org/10.1163/18739865-tat00005","url":null,"abstract":"\u0000 The depiction of violence in Iranian cinema has always been debated. The vitality of this issue is due to the desire of right-wing groups to restrict cinema. Conversely, reformists want to escape these ‘accusations’ and the ensuing censorship. This article argues that both groups are inaccurate because they view violence in cinema as moments and images rather than a narrative process. Following Galtung’s definition of violence, in analyzing A Separation by Asghar Farhadi, this investigation will demonstrate that narrative films have a process where different modes of violence are depicted. In this film, the beginning introduces latent violence, violence becomes manifest, the conflict starts, and the film ends in peace, which can be positive or negative. A Separation ends in the latter mode, creating a sense of void and continuous violence after the end of the physical time of the film.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41662062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Front matter","authors":"","doi":"10.1163/18739865-01601000","DOIUrl":"https://doi.org/10.1163/18739865-01601000","url":null,"abstract":"","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":"520 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136166328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Narrating Crisis through the Loyalist Witness","authors":"Samer Abboud","doi":"10.1163/18739865-tat00003","DOIUrl":"https://doi.org/10.1163/18739865-tat00003","url":null,"abstract":"\u0000 Scholarly interest in Syrian wartime witnessing has overwhelmingly focused on how cultural production bears witness to state violence. In this article, I shift attention to a form of loyalist wartime witnessing by asking how the films of Syrian director Joud Said construct war stories giving meaning to regime narratives of a ‘crisis’. Drawing on two of his films, Maṭar Homs and Darb al-Sama, I argue that Said’s works narrate crisis through the loyalist witness, a subject victim shifting attention towards how armed groups and other Syrian ‘enemies’ perpetrated violence and inflicted trauma on Syrians. In positioning the loyalist witness as the subject through which Syrian trauma is narrated, Said’s films delineate what can and cannot be seen and said about the Syrian conflict. As the subject of his war films, the loyalist witness functions to obscure and render invisible regime violence and responsibility for Syria’s catastrophe.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43986297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘I’m Interviewing a Sheep’","authors":"Lindsey Pullum","doi":"10.1163/18739865-tat00004","DOIUrl":"https://doi.org/10.1163/18739865-tat00004","url":null,"abstract":"\u0000 In this article, I summarize the state of Arabic (as a medium and a message) in Israeli state media and compare attitudes towards the Arabic language with content from the popular bilingual (Arabic-Hebrew) sitcom written and created by a Palestinian-Israeli writer, Sayed Kashua. I argue that Kashua’s work in his show, Arab Labor, reiterates poor attitudes towards Arabic and foreshadows the ethnolinguistic erasure of Israel’s Nation-State Law of 2018. Using humor and satire within its content, context and dialogue, the show draws attention to growing disparities and impossibilities in Palestinian life throughout Israel and emerges as an intertextual resource for commentary and recreating conditions of Palestinian existence.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44671518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Exasperating Rides and Bittersweet Duties","authors":"Nadine Sinno","doi":"10.1163/18739865-tat00002","DOIUrl":"https://doi.org/10.1163/18739865-tat00002","url":null,"abstract":"\u0000 This article offers a contextual analysis of Annemarie Jacir’s film Wajib. I argue that Jacir employs the tropes of ‘the exasperating ride’ and ‘bittersweet duty’ as a means of demonstrating the material conditions endured by Palestinians in Nazareth, documenting mundane acts of sumuud in the face of personal and collective traumas, and articulating the complex sociopolitical landscape inhabited by Palestinians. Employing the interrelated tropes of the exasperating ride and bittersweet duty, Jacir ‘humors the Palestinian homeland’, thereby eschewing clichéd representations of Palestinians. The usage of the term ‘humor’ refers to a sense of eliciting frivolousness, as well as a sense of accommodating difference. Palestinian protagonists in Wajib often utilize humor as a survival mechanism; they also humor other Palestinians, whose worldviews, relationship to the land and modalities of steadfastness may differ from their own. The film emphasizes the polyphonous voices circumventing an exclusive master-narrative about the Palestinian homeland.","PeriodicalId":43171,"journal":{"name":"Middle East Journal of Culture and Communication","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43235101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}