By Lila Abu-Lughod
How do humans come to consider themselves as a part of a kingdom? Dramas of Nationhood identifies a wonderful cultural shape that binds jointly the Egyptian nation--television serials. those melodramatic programs--like cleaning soap operas yet extra heavily tied to political and social matters than their Western counterparts--have been proven on tv in Egypt for greater than thirty years. during this ebook, Lila Abu-Lughod examines the moving politics of those serials and how their contents either replicate and search to direct the altering process Islam, gender kinfolk, and daily life during this heart japanese nation.Representing a decade's worthy of study, Dramas of Nationhood makes a case for the significance of learning tv to reply to greater questions on tradition, energy, and smooth self-fashionings. Abu-Lughod explores the weather of developmentalist ideology and the visions of nationwide development that when ruled Egyptian television--now experiencing a quandary. She discusses the publicizes in wealthy aspect, from the usual emotional traits of television serials and the depictions of genuine nationwide tradition, to the debates infected through their planned thoughts for scuffling with non secular extremism.
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Extra info for Dramas of Nationhood: The Politics of Television in Egypt
They are thus signiﬁcant works, many remembered, and rerun, for years. Selecting particular serials produced by particular members of the culture industry allows me to move beyond simply accusing state-controlled media of doing the bidding of the regime, even if we must take into account that the Minister of Information supervises it. Most radio and television around the world has been state controlled or in the hands of culture industry professionals who, as Stuart Hall (1980) has argued, tend to share the “dominant codes” of the nation-state.
In Egypt, they tend to watch with their families at home; but there are also many public settings in which television sets are on: doormen in the cities watch with their colleagues from their streetlevel rooms, shopkeepers watch with their customers, cafés often have a television going, and friends get together to watch at each others’ homes. S. soap operas, the Egyptian television serials are not primarily aimed at and watched by women; women may be more attached to the shows and more likely to watch regularly, but men watch as well, and the major Ramadan serials tend to have wide and mixed followings, as evidenced by the critical discussions and debates, primarily among men, that ﬂow from them in the newspapers and magazines.
But how can we get more than a fragmentary sense of the everyday lives, social connections, and concerns of the Interpreting Culture(s) after Television 33 people interviewed, or of the diversity of viewing communities? 17 What we often have is only the anecdote or the fragmentary quotation of a decontextualized television watcher. In the more thorough audience studies by media researchers, on the other hand, how can we get more than a partial sense of the everyday lives, social connections, concerns, and complexities of the people quoted, not to mention of the much larger group who consume the cultural forms and share the nation or community?
Dramas of Nationhood: The Politics of Television in Egypt by Lila Abu-Lughod