Research Statement

Introduction

This creative-critical PhD research argues that the representation of gay men in Egyptian cinema not only has been historically problematic, but rather regressed considerably over the years. While critically reflecting on twenty feature films as case studies, I demonstrate that depictions of gay male characters in Egyptian cinema have overwhelmingly been limited to crude and cruel stereotypes. 

Furthermore, the documentary argues that while censorship plays an important role in depicting gay male characters negatively, it is not the only reason for such portrayals. Filmmakers’ interpretations and cinematic ploys also play a crucial part. Interviews with experts and filmmakers reveal that most filmmakers remain complicit with the expectations of Egyptian audiences and society. Additionally, in adaptations, particularly films based on novels, filmmakers sometimes intentionally transform gay male characters to portray them as 'deviant.'

I am aware that both in academic research and many forms of LGBTQ+ cinema and art, there is a bias towards focusing on gay men over other queer identities, particularly women and transgender people. This project intentionally focuses on the representation of gay male characters, a decision driven by the greater number of depictions of gay men compared to other queer identities in Egyptian films. This does not imply that the experiences of lesbians, bisexuals, or transgender individuals are any less important; rather, the scope of this research is determined by the available material and aims to provide a detailed analysis within its confines. Additionally, terms like "gay" and "homosexuality" are used here following contemporary understandings and common academic usage, despite the historical and cultural nuances of these terms in the Arab context. These choices are made for clarity and consistency, acknowledging the ongoing debates within queer Arab studies about the appropriateness of these terms. 

Although this project concentrates on gay men, it still has relevance to other LGBTQ+ people suffering repression because it sheds a bright light on certain mechanisms of oppressive representation that to some extent affect all sexual and gender minorities. It is a subject I feel a personal affinity with.

Research Questions

My overarching research question is: how has the representation of gay men in Egyptian cinema evolved from 1963 to the time of this study? Further, what factors have influenced the representation? To answer these questions, I analyse twenty feature films, presenting gay men historically and contemporarily, exploring myriad male sexualities to investigate the changes in presenting them. This is assessed through studies focused on the last six decades, including the situation before and after the 2011 Egyptian revolution.

Although Egyptian cinema has been the focus of a number of academic studies, a creative-critical approach has yet to be applied to this topic. My work adds to voices that critique by critically engaging with gay men on screen. I am offering the first systematic survey of how gay male characters are created and perceived across a representative range of specific films from Egyptian cinema and investigating the significance of censorship and directorial tastes and priorities.

In this context, I show that in most films, male homosexuality is depicted as the result of mental illness, being sexually abused at a young age, being influenced heavily by ‘Western decadence’, or because of a lack of self-control or willpower. Furthermore, these films often end either with so-called ‘happy endings’, where the characters are ‘cured’ of their homosexuality, or with tragedy, suicide, or murder, to perpetuate particular Abrahamic religious notions that sin leads to death. It is rare indeed that male homosexuality is shown as normal, acceptable, or compatible with a life worth living. 

At the level of practice research, I produced a documentary about how male homosexuality is represented in Egyptian cinema: the first feature documentary that explores the artistic elements used to portray gay men and how these elements are resistant to change and continue to reproduce fundamental aspects of negative beliefs about homosexuality. The documentary involves interviews with filmmakers and film critics from inside the Egyptian film industry. At a narrative level, it argues that the representation of gay men in Egyptian cinema, which has always been problematic, has regressed over the years. It also argues that censorship plays an important part in depicting gay male characters in a negative light. However, filmmakers’ own interpretations of homosexuality also play an important and, I argue, more crucial part in the way such characters are represented.

Context / Significance

More scholarly works are emerging regarding the analysis and historicization of homosexuality as a broad topic, more or less male homosexuality specifically. My research identifies for the first time twenty feature films made between 1963 and 2018 that represent gay male acts and/or identities. It analyses these and identifies key aspects and patterns of such representations and explores how they have changed over time. It also examines a range of factors shaping these representations within the film industry and Egyptian politics and society more broadly, including censorship, directors’ visions and government priorities. And it considers what impact these representations have had on Egyptian culture, in terms of ‘straight’ and mainstream understandings of male homosexuality and also homosexual Egyptians’ own experiences and understanding of themselves.

Methods 

My research applies an interdisciplinary approach by critically looking at the representation of gay male characters in different forms, such as films and literature, and considering them in their legal, social, and political contexts. This is supplemented by a number of literary and academic texts about Egypt’s film industry, such as Viola Shafik’s Arab Cinema: History and Cultural Identity (1998) and Popular Egyptian Cinema: Gender, Class, and Nation (2007), Joseph Massad’s Desiring Arabs (2007), Garay Menicucci’s Unlocking the Arab Celluloid Closet: Homosexuality in Egyptian Film (1998), Ali Abu Shadi’s Films from the 1990s - Critique Articles (2001), and Joel Gordon’s Revolutionary Melodrama: Popular Film and Civic Identity in Nasser’s Egypt (2002). This assessment serves as a foundation to investigate and address authorship and the different approaches taken by directors in representing gay male characters. I analyse twenty Egyptian films and the censorship regulations relevant to their production, taking into consideration the director’s background and the political context to understand and highlight the reasons and social factors involved in the representation of gay male characters. These films are Midaq Alley (Hassan al-Imam, 1963), The People and the Nile (Youssef Chahine, 1972), The Malatily Bathhouse (Salah Abu Seif, 1973), Cat on a Hot Tin Roof (Samir Seif, 1977), Alexandria.. Why? (Youssef Chahine, 1979), Alley of Desire (Hossam al-Din Mustafa, 1983), Summer Thefts (Yousry Nasrallah, 1988), Alexandria Again and Forever (Youssef Chahine, 1989), The Belly Dancer and the Politician (Samir Seif, 1990), Terrorism and Kebab (Sherif Arafa, 1992), Mercedes (Yousry Nasrallah, 1993), Disco Disco (Inas al-Degheidy, 1994), The Emigrant (Youssef Chahine, 1994), The City (Yousry Nasrallah, 2000), Dare to Give (Said Hamed, 2001), Fishtail (Samir Seif, 2003), The Ya‘coubian Building (Marwan Hamed, 2006), The Right One (Hadi al-Bagoury, 2011), Family Secrets (Hani Fawzi, 2014) and Diamond Dust (Marwan Hamed, 2018). Focusing on these specific case studies will allow for a deep understanding of the driving force behind the portrayals of male homosexuality in Egyptian cinema over time. For the purpose of my doctoral research, I have chosen a practice-based research methodology because it involves a dynamic, iterative relationship between practice and research. 

Outcomes

This research project set out to explore how the representation of gay male characters in Egyptian cinema has evolved since 1963 and what factors have influenced the representation, including whether censorship was the only element restricting filmmakers from depicting gay male characters honestly and realistically. The documentary argued that the representation of gay men in Egyptian cinema has massively regressed over the past years. State censorship plays an important role in shaping these characters, but self-censorship already existed among Egyptian directors. This finding implies that the majority of Egyptian directors who have tackled this topic in their films have failed to depict a more complex and humane dimension of gay male characters, either because of ignorance of the topic or because of fear of backlash from a large conservative sector of society. Others, of course, have used the medium to outrightly vilify male homosexuality. Gay male characters are often poorly developed and regularly exploited as a vehicle to convey comical or negative moral lessons. 

Overall, I have found that the representation of gay male characters in Egyptian cinema is still considered a taboo subject. The films that portray gay male characters negatively outweigh films that depict them positively. These negative modes of representations often happen because of either censorship rules that are not challenged and breached by the filmmakers or because the filmmakers’ own points of view on the subject. Ultimately, the documentary will aim to soften conservative views within my country and pave the way for a more accepting and tolerant future. 

Impact

The documentary has the potential to help further understanding of multiple areas of research. This documentary explored the way in which Egyptian cinema historically treated male homosexuality up to 2018, and raises an important question, which is how filmmakers might represent male homosexuality in the future? The documentary plays an important part in addressing this question and will be a starting point for further investigations. It is my hope to make the documentary available online and through venues and festivals in Egypt and internationally. Achieving this goal, my research will reach those who work in the industry as well as wider public audiences. It will also contribute to academic knowledge and make available a new line of research to pursue, to fuel more honest and open debates. Eventually, it will help encourage people to question the validity of archaic laws and, more importantly, to question how gay male characters will be represented in Egyptian films in the future. 

As in other countries, Egypt is a country where the work of actors is often appreciated more than that of directors or screenwriters. As such, in interviews, actors rarely discuss in detail the director or the writer’s work, specifically as to why the characters are shown in a certain way. In their defence, they may not know the writer or director’s intentions. My documentary will provide them with a new lens to view their work, allowing directors and actors to see the details of their work analysed and critiqued on screen. More specifically, this critical analysis will allow them to realise that the elements they used to portray these characters are harmful and negatively influence both homosexual and heterosexual audiences. More broadly, the documentary may act as a wake-up call for Egyptian directors to realise the self-censorship that exists within their profession, the influential effects they have on the public through their films, the responsibility they have as a result, and the opportunity they have to have a progressive influence.

I hope this creative-critical research will open the door for other film researchers and filmmakers to investigate other queer tropes, themes, and characters in Egyptian films, such as lesbian, bisexual, trans, and non-binary identities and non-heteronormative ways of life and communities. This is vital in order to help LGBTQ+ communities to have more acceptance and safety in Egyptian society as well as real, positive, and respectful representations in films. 

References

Abu Shadi, A. (2001). Men aflam al-tes‘enat - Maqalat naqdiya [Films from the 1990s - Critique Articles]. Cairo: al-Hay’a al-Misriya al-‘Amma li-l-kitab. 

Al-Aswany, A. (2002). ‘Imaret Ya‘coubian [The Ya‘coubian Building]. Cairo: Mirit Lil-Nashr wa-l-Ma‘lumat.

Gordon, J. (2002). Revolutionary Melodrama: Popular Film and Civic Identity in Nasser’s Egypt. Chicago: University of Chicago, Middle East Documentation Centre.

Mahfouz, N. (1947). Zuqaq al-Midaq [Midaq Alley]. Cairo: Maktabat Misr. 

Massad, J. (2007). Desiring Arabs. Chicago: The University of Chicago Press.

Menicucci, G. (1998). ‘Unlocking the Arab Celluloid Closet: Homosexuality in Egyptian Film,’ Middle East Report 206, pp. 32-36.

Mourad, A. (2010). Turab al-Mass [Diamond Dust]. Cairo: Dar Al Shorouk.

Shafik, V. (1998). Arab Cinema: History and Cultural Identity. Cairo: The American University in Cairo Press.

–––––. (2007). Popular Egyptian Cinema: Gender, Class, and Nation. Cairo: The American University in Cairo Press. 

–––––. (2016). Arab Cinema: History and Cultural Identity. 3rd ed. Cairo: The American University in Cairo Press.

Filmography

Alexandria Again and Forever/Iskindiriya kaman we kaman. (1989). Directed by Youssef Chahine. Egypt: MISR International Films, Paris Classics Productions, La Sept, Ministère de la Culture et de la Communication and Ministère des Affaires étrangères.

Alexandria.. Why?/Iskindiriya lih?. (1979). Directed by Youssef Chahine. Egypt: MISR International Films and Algerian Television. 

Alley of Desire/Darb al-Hawa. (1983). Directed by Hossam al-Din Mustafa. Egypt: Gina Film. 

The Belly Dancer and the Politician/al-Raqissa wa-l-siyasi. (1990). Directed by Samir Seif. Egypt: Screen 2000.

Cat on a Hot Tin Roof/Qeta ‘ala nar. (1977). Directed by Samir Seif. Egypt: NP Film.

The City/al-Madina. (2000). Directed by Yousry Nasrallah. Egypt: MISR International Films, Ognon Pictures, La Sept, Foundation Montecinema Verita, ACCT and Procirep.

Dare to Give/Rasha gare’a. (2001). Directed by Said Hamed. Egypt: Grand Art.

Diamond Dust/Turab al-Mass. (2018). Directed by Marwan Hamed. Egypt: New Century Production.

Disco Disco. (1994). Directed by Inas al-Degheidy. Egypt: Aflam Misr al-‘Arabiya.

The Emigrant/al-Muhager. (1994). Directed by Youssef Chahine. Egypt: MISR International Films and Films A2. 

Family Secrets/Asrar ‘a’elya. (2014). Directed by Hani Fawzi. Egypt: Ihab Khalil.

Fishtail/Diel al-Samaka. (2003). Directed by Samir Seif. Egypt: Wahid Hamed Films.

Midaq Alley/Zuqaq al-Midaq. (1963). Directed by Hassan al-Imam. Egypt: Ramses Naguib Films. 

The Malatily Bathhouse/Hammam al-Malatily. (1973). Directed by Salah Abu Seif. Egypt: Salah Abu Seif. 

Mercedes. (1993). Directed by Yousry Nasrallah. Egypt: MISR International Films, Paris Classics Production and La Sept. 

Palace Walk/Bayn al-Qasrain. (1964). Directed by Hassan al-Imam. Egypt: Helmy Rafla. 

The People and the Nile/al-Nass wa-l-Nil. (1972). Directed by Youssef Chahine. Egypt: Cairo Cinema Company and Mosfilm. 

The Right One/Wahed Saheh. (2011). Directed by Hadi al-Bagoury. Egypt: Kareem al-Sobky Films. 

Summer Thefts/Sariqat sayfiyya. (1988). Directed by Yousry Nasrallah. Egypt: MISR International Films, Ministry of Culture and Ministry of Foreign Affairs in Paris.

Terrorism and Kebab/al-Irhab wa-l-kabab. (1992). Directed by Sherif Arafa. Egypt: Essam Imam.

The Ya‘coubian Building/‘Imaret Ya‘coubian. (2006). Directed by Marwan Hamed. Egypt: Good News.

Peer Reviews

All reviews refer to the original research statement which has been edited in response to what follows

Review 1: Accept submission for publication with no amendments.

Egypt’s Celluloid Closet: Homosexuality in Egyptian Cinema Documentary is a 49-minute documentary film that explores representations of homosexual men in Egyptian cinema since 1963 and through to the present day. The film underscores that Egyptian film practices during this time have predominantly leant towards depicting homosexuality as an aberration; gay male characters are usually depicted in a shallow way as living decadent and amoral lifestyles, and prone to contracting AIDS or dying by suicide; conversion therapy is depicted in a positive light. The documentary rightfully argues that these are damaging representational strategies, and highlights the problem of self-censorship – or perhaps ignorance, in some cases - on the part of filmmakers. This is due to the difficult and ever-developing political, religious, and cultural environment in Egypt. While it is noted that some filmmakers posit that any representation of gays and lesbians should be thought of as good representation, the filmmaker-researcher presents a clear argument (through both the film and research statement) that this is not the case. Representation, indeed, matters. A middle section of the film demonstrates that there are some exceptions to the often negative gay stereotypes depicted on screen. These representations are often quite implicit in nature, as opposed to overtly queer representations. Towards the end of the film, the filmmaker-researcher underscores that, especially in the last 20 years, gay characters in Egyptian cinema are rarely shown in a positive light, and he presents a call to action to Egyptian filmmakers: ‘to boldly defy the status quo, rise above the challenges of self-censorship, and pave the way for gay people to see real depictions of themselves on screen’. Both the film and the statement are well-structured, presenting the research problem clearly, contextualising the field with reference to specific examples of screenwriting, direction, and performance that are highly relevant to the field. The examples that highlight the self-censorship, which can be observed to sometimes occurs in adapting literature to film, was particularly compelling.

I would be interested to learn more about whether there is any specific advice to emerging Egyptian filmmakers who are interested in rising to the challenge of ‘authentic’ LGBTQIA+ representations on screen. For example, are there particular production processes or contexts that would likely be more fruitful towards these aims (eg. international co-production may contribute to a greater sense of safety for queer filmmakers to explore positive representation)? This may prompt a response that the filmmaker-research may wish to address further in this output, or perhaps this might form the basis of future research.

This project makes a strong contribution to knowledge. Representations of gay men in Egyptian cinema is an underexplored field, so to now have a documentary film that provides a clear history of this issue is significant. The project presents a strong rationale for how creative practice can be utilised to explore such a topic about film, for film, and through film. I commend the filmmaker-researcher and I thank the editors for the opportunity to review this wonderful research, which ought to be of great interest to many in the fields of screen production, script development, queer creative practice, and gender and sexuality studies.

Review 2: Invite resubmission with major revisions of practical work and/or written statement.

Egypt's Celluloid Closet: Homosexuality in Egyptian Cinema is an important contribution to studies of same sex desire in Egyptian cinema. It offers an extensive catalogue of films which feature same sex desire between men in Egyptian cinema starting with 1863 and into the contemporary moment. It analyzes those films to articulate common character tropes and narrative arcs. Ultimately it suggests that the films overall leave an unfavorable representation of queer characters, and that queerness remains a taboo subject in Egyptian culture. To my knowledge, it is the first such comprehensive visual analysis of this topic and will be a rich resource for scholars in queer, Arab, Egyptian, and film studies. The experts interviewed in the film offer thoughtful comments regarding the films and their treatment of homoeroticism as they relate to Egyptian and Arab culture more broadly. It offers an archive and space for conversation for queer and/or Arab viewers. Moreover, Orientalism and anti-Arab racism often suggest non-normative gendered and sexual behaviors are simply absent in Arab culture, and this catalogue is a useful means to refute this depiction. The statement accompanying the film is well organized but could benefit from a more in-depth literature review on the treatment of same sex desire in Egyptian culture and further context regarding the films themselves. It might also further theorize and ground the recurring themes and tropes articulated in the documentary. The project suffers from its exclusive focus on men and same sex desire between men. It does not attempt to address women and does not explain its choice to exclude women from its discussion of same sex desire.

All reviews refer to the original research statement which has been edited in response