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Introduction Egypt is located on the northeast corner of the African continent.

One of the most densely populated countries of Middle East, its population has rapidly increased: 16 million in 1993; 3 million in 19!6; "# million in 19 !; "6 million in 199$; " million in #$1%. &eographically, Egypt e'tends from the Mediterranean (ea on the north to (udan on the south, and from the )ed (ea on the east to *i+ya on the ,est. E-en though the total area of Egypt is around 1 million s.uare /ilometers, less than " percent of the land is inha+ited. Ma0ority of the population is found in ur+an area. 1slam is the religion of the state, and Ara+ic is its official language. Education is officially compulsory for the 9 years +et,een 6 and 1" years of age. 2rimary education starts at 6 years and lasts for " years, reduced from 6 in 19 9; secondary education +egins at the age of 11 and lasts for 6 years. 1n 19 9, total enrollment at primary and secondary schools ,as e.ui-alent to 9 percent of the school3age population. 4here are 13 uni-ersities. Education at all le-el is a-aila+le free of charge. 5o,e-er there are se-eral pri-ate schools and some pri-ate uni-ersities; 4he American 6ni-ersity in 7airo and, in 199%, the national uni-ersities. 4he Egyptian economy follo,s a system of a mi'ed economy under go-ernment super-ision. 4he fundamental difficulty confronting the Egyptian economy is the pressure on resources, o,ing to one of the ,orld8s highest ratios of population to ha+ita+le and culti-a+le land. Egypt is a de-eloping country or third ,orld country1.

9ahya ). :amalipour ,5amid Mo,lana;Eds<.;199%<, Mass Media in the Middle East,A Comprehensive Handbook. *ondon, &reen,ood 2ress.2age 6$361.

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Film Development in Egypt 4he film industry started in Egypt on =anuary # 1 96 ,hen Ahmad (yafi. 2asha opened the first cinema under the name of Mo-ing 2hotograph. 4he founder of that cinema ,as the >rench ?Mesio *e Mier@ ,ho charged the -ie,er8s " piaster for the adults and # piasters for the /ids. 4he first film in Egypt ,as a >rench mo-ie sho,n in the city of Ale'andria 1 96. 1mmediately after that many sho, theaters ,ere esta+lished in 7airo, Ale'andria, 2ort (aied, Asiot and Al3Mansoura#. On Ao-em+er 16, 19#!, the first Egyptian silent film, *aila, ,as sho,n. 1t had starred famous actress ABiB Amir together ,ith a group of Egyptian theater stars. 4he fim is generally considered to +e the real starting point of the Egyptian cinema. 4he first tal/ing mo-ie ,as ?6nshoudatul>uad@ ;the song of heart< ,hich featured the famous Egyptian artist ?Ca/aria Ahmad@, ?&eorge A+yadh@ and ? A+d Al3)ahman(hu/ri@. Althought the film ,as not -ery successful, +ut its producers immediately organiBed the first Egyptian company for distri+ution in Ara+ ,orld. One of the most successful films at that early time ,as ?al3Darda Al3Eida@ directed +y ?Mohammed :arim@. 1n 193%, 4alaat5ar+, an Egyptian +usinessman, formed Misr 7ompany for Acting and 7inema, ,hich later +ecome /no,n as the (tudio Mirs. 4his ,as an important de-elopment in Egyptian cinema. 4he first film shot in this fully e.uipped studio ,as Dedad, starring Om :althoum3Egypt8s most famous female singer. (e-eral other musical films follo,ed. 1n 19%", a ne, era +egan in the history of the Egyptian cinema ,ith the post,ar films. Mo-ie production increased +ecause many producers ,ere in pursuit of ma/ing profits and ,ealth.
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A+dullah 5assan. ;#$$1<. 2roceedings of 4he 1nternational 7on-ention on 4he role of Media in Aon3Aligned 7ountries.Malaysia,116M 2ress, page 113.

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5ence, they turned the art of mo-iema/ing into a commercial -enture. 1t ,as .uantity and not .uality that they loo/ed for. >or instance, the num+er of films produced in 19%"319%6 0umped to 6! from # in 19%%319%" and from only 16 in 19%3319%%3. 4here are se-eral films else, such as in 19#3, 4he real +eginning of the Egyptian cinema ,as the screening of 1n the *and of 4utan/hamun, the first Egyptian feature film, an $3minute length a+out the disco-ery of the tom+ of :ing 4utan/hamun.Mohamed Eayumi ,as the first Egyptian to stand +ehind a camera, as aproducer, ,riter, director and photographer, using e.uipment and la+oratories he purchased at his e'pense from &ermany.4he short narrati-e ;1# minutes< Earsoum *oo/ing for a =o+, ,as screened. 1t ,as photographed, directed and produced +y Mohamed Eayumi and starring EisharaDa/im, A+del 5amid Ca/i, Mohamed (hafi., and child Mohamed 9oussef. 1t ,as intended to +e a feature film, +ut ,hen child Mohamed 9oussef, son of Mohamed Eayumi, died, it ,as not completed. Ae't, in an unprecedented incident in Egypt, *ashin, directed +y >ritB :ramp, ,as confiscated and +anned from pu+lic screening on the same day it ,as appro-ed to +e sho,n, on March 1!. 1t ,as +anned +y censors +ecause it has ?insinuations related to the )oyal 5ighness and the regime@.4he story of the film re-ol-es a+out political corruption and economic collapse and is ended +y the ,ill of the people realiBed in murdering the ruler and appointing a popular leader from the pu+lic.(tudio Misr had to ma/e a different end in ,hich the 0ust sultan triumphs and en0oys the lo-e of his people follo,ing a conspiracy schemed against him. 4he film ,as screened ,ith the ne, end on Ao-em+er 1%, 193 .

9ahya ). :amalipour ,5amidMo,lana;Eds<.;199%<,Mass Media in the Middle East,A 7omprehensi-e 5and+oo/. *ondon, &reen,ood 2ress, page 6 .

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On Ao-em+er 6, El ABima ;4he Dill<, directed +y :amal (elim, ,as screened. 1t is one of the most important classics of the Egyptian cinema. 1ts importance deri-es from its +eing the first realistic film depicting daily life in poor Egyptian alleys, through popular characters and models, addressing unemployment, a pro+lem de-astated the Egyptian society in the late thirties.?:amal (elim ,as an admirer of the >rench poetic realism. Fespite his adopting some features of )enG 7lair or =ean )enoir, he had an original style, more li/e the 1talian Aeorealism,@ ,rote &eorge (adol.4hey also has film El Mumya ;4he Mummy<, ,as screened in the opening of :arlo-y Hary 1nternational >ilm >esti-al, for the first time in the history of the Egyptian cinema.El Mumya is one of the most important films e-er in the history of the Egyptian as ,ell as Ara+ic cinema. Eoth script and dialogue ,ere ,ritten +y (hady A+del (alam, and photographed +y A+del ABiB >ahmy. 4he film ,as starring Aadia *otfy, Ahmed Mar8i, CoBo5amdy El 5a/im and (hafi/AourEddin%. On August , 19"#, Mohamed Aagui+, the president of Egypt, issued a declaration for the film industry that included the follo,ing statement: ?4he cinema is a source of education, /no,ledge and entertainment. De must considerer this +ecause if ,e do not ta/e this into considera.tion it ,ill affect the young and ma/e our standard go do,n@. 4herefore, from 19"# to 196#, the film industry entered a critical stage in its history. 1n this ten3year period, nearly 6$$ films ;6$ films per year< ,ere produced. 4he most famous of these ,ere Allah Maana ;19""< and )odaIal+y ;19"!<. Also to encourage +etter3.uality films, the Ministry of 7ulture held se-eral film competitions, the first in 19"". 1n 1963, a pu+lic sector film production /no,n as the 7inema 1nstitute ,as created. 5o,e-er, una+le to compete ,ith the local and international mar/et, the institute failed to gain
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re-enues and profit"s to co-er its e'penses, it folded in 1969. ?the Egyptian cinema produced during the period of pu+lic sector %16 films, "$K of ,hich ,ere pu+lic sector production, %$K pri-ate sector financed +y the pu+lic sector, 1$K produced +y pri-ate sector financed +y *e+anese and distri+uted +y Ara+ companies@. After the 196! ,ar ,ith 1srael, Egyptian films turned their focus to entertainment, there+y assisting -ie,er in o-ercoming their losses and dealing ,ith the country8s defeat. 4he 196$s ,ere /no,n as the period of ?>ear@. 7ensorship ,as so strong that Aasser himself had to ,atch the film (ome >ear and appro-e it for pu+lic sho,ing. 6nder 2resident An,ar el3(adat, the mo-ies soon forgot the ,ar and +egan dealing ,ith other su+0ects that ,ere more profita+le. 4he open3door period in the mid319!$s included a num+er of films, most of ,hich ,ere commercial and purely fictional or unrealistic. 4his ,as follo,ed +y films against the open3door policy. 4hey ,ere against economic and social practices and ,anted to ,arn people a+out the corruption that ,as going on under the name of the open3 door policy. 4hirteen such films ,ere sho,n in Egypt +et,een 19!" and 19 1.6nder 2resident 5osni Mu+ara/, cinema has +ecome a +usiness depending on supply and demand. Also a ne, social class has appeared, demanding a different taste in almost all art. (ince profit ma/ing is a -ery important aspect of the cinema +usiness, producers tailor their films to meet the demand of this ne, audience. 1n general, this narro, perspecti-e has contri+uted to the deterioration in many recent films".

9ahya ). :amalipour ,5amidMo,lana;Eds<.;199%<,Mass Media in the Middle East,A 7omprehensi-e 5and+oo/. *ondon, &reen,ood 2ress, page 69.

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Effect of Film Industry in Egypt Education 2ositi-e Effects of >ilm 1ndustry to Egyptian education Ao dou+t, education encounters in modern times +ecomes challenges in all aspects of social, economic L cultural life. 5o,e-er, the most important of ,hich are o-er3population, o-er3/no,ledge, education philosophy de-elopment L the change of teacher8s role, the spread of illiteracy, lac/ of the staff L the technological de-elopment L mass media. 4his dro-e the teaching staff to use the modern teaching technologies to face some of the main pro+lems, ,hich education L its producti-ity encounter, +y increasing the learning le-el ,hich may +e achie-ed through pro-iding e.ui-alent opportunities for all people ,hene-er L ,here-er they are, ,hile ta/ing into account the indi-idual differences +et,een learners.6 1n Egypt, education is highly -alued in Egypt, and families in-est a lot in that area. E-en lo,3income families try to educate their children as much as possi+le. Education, especially ha-ing a uni-ersity degree, is considered an important a-enue for social mo+ility. Eut many families cannot afford to educate their children +eyond the elementary le-el. 1n addition, many children ha-e to ,or/ at an early age to help support their families.! 4hus, to impro-e the educational producti-ity, one of the ,ays that needed in /eep increasing the educational system in Egypt ,as through the film industry. 1ndeed, the Egyptian film industry has made a +ig impro-ement or positi-e effects to the educational system in Egypt itself according to some +enefits of filmma/ing industry for e'ample +y ta/ing the period of &amal A+del Aasser.
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http:JJ,,,.sciencedirect.comJscienceJarticleJpiiJ(##1$ 3191#$$$$33 http:JJ,,,.e-eryculture.comJ7r3&aJEgypt.html

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>irst and foremost, one positi-e contri+ution from this period ,as the opening of the 5igher 1nstitute of 7inema in 19"9, +y the Ministry of 7ulture, ,here students recei-ed training in different aspects of production. (ince then, this institute has produced much of EgyptMs film and tele-ision talent. 4he ne't ad-antage of the film industry that affect the educational system in Egypt is it allo,ing the students to understand the films ,ell +y themsel-es. As ,e already /no,, in Egypt, the filmma/ing industry +asically used the same method as the other countries in this ,orld also used ,hich is the concept of the film is all a+out the society in that country such as ho, the culture there, their religion and so on. On the other hand, for the film ma/ers, their purpose is to ma/e the others a,are or concern a+out the issues that happened among the society around them. 4herefore, after ,atching any film, the students ,ill ta/e a good lesson to ma/e their life +etter in the future. (o, through this film industry, it really gi-es contri+utions to the teachers as ,ell as the students to impro-e their /no,ledge and a,areness to,ards the society around them. Ey the end of ,atching the film, they ,ill a+le to recogniBe, to differentiate, and to e-aluate +et,een the good and the +ad especially +y the students themsel-es. >or instance, if they ,atch the film that can gi-e many +enefits to them li/e the encouragement of +eing good to the parent, so they ,ill +enefit from that film +y applying ,hat they ha-e seen in that film to their parent at home. 4hus, it is pro-en that the film industry can gi-e the positi-e impact to the de-elopment of the educational system in Egypt from time to time +ecause Egyptian films are ,orth that related to the current issues ,ith ,hich Egyptians are concerned.9 Eesides allo,ing the students gain +enefits from the film, the other impact of the film industry in Egypt to the educational system there ,as the ad-ancement of the Egyptian
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filmma/ing inspired the students to study and produce their o,n films in the future. 4his is +ecause, the Egyptian filmma/ing more ad-anced and de-eloped in terms of the .uality filmma/ing compared to the other countries in the Middle East li/e Morocco and others +ecause of the e'perts in Egypt more than the others. (o, the interest that sho,ed +y the students ,ill increase their efforts to /no, and e'plore the filmma/ing industry in Egypt. 1t is +etter compared to other things that can +ring harm to them and also the image of the country may destroy +ecause of the students there 0ust in-ol-ed in the immoral things li/e loitering, smo/ing and addicting in games. 4hat interest ,ill lead them to in-ol-e in the good +eha-ior and also can reduce them from ,asting time.1$ Aegati-e Effects of >ilm 1ndustry to Egyptian education Aonetheless, the Egyptian film industries also ha-e its o,n negati-e effect to the educational system there. 4he first primary negati-e effect is the misuse of film ,atching +y the students +ecause some of the film can harm their thin/ing li/e the film a+out gangsters, /illing and so on. 4hus, it ,ill result and reflect the +ad +eha-ior of the students if there no any limitation in ,atching that such film. As a conclusion, the film industry in Egypt gi-es the positi-e impact to the educational system there in terms of recei-ing training, the a,areness a+out the society of the students themsel-es as ,ell as the encouragement to ma/e them in-ol-e in film industry +y impressing them through the film in order to reduce the immoral +eha-ior among the teenagers or students. Mean,hile, the other side impacts are the misuse of film ,atching and the +ad influences from the people around them that can lead them to the +ad +eha-ior.

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Economy 2ositi-e Effect of >ilm 1ndustry to Egyptian economy 4he e-olution of Egyptian film history reflects the economic changes that ha-e s,ept the country since the +eginnings of a national film industry. 4his change has +een distinguished +y ,idely di-ergent economic directions that +ecame more pronounced follo,ing the 19"# >ree OfficerMs 7oupPa re-olution led +y a group of young military officers. 4he su+se.uent rise of &amal A+del Aasser ;191 Q19!$< to po,er in 19"% e'tended to his leadership of the 2an3Ara+ mo-ement, ,hich forged ties +et,een Egypt, (yria, and 1ra. after EgyptMs successful resolution of the 19"6 (ueB crisis. 1n Egypt, film production gained the profit after the esta+lishment of cinema of Egypt +ecause since 19!6, 7airo has held the annual 7airo 1nternational >ilm >esti-al, ,hich has +een accredited +y the 1nternational >ederation of >ilm 2roducers Associations +ecause ,hen there has +een held any festi-al, people ,ill come and tour around the city. (o, the income of the film industry increased after the death of Aasser. Aegati-e Effects of >ilm 1ndustry to Egyptian economy AasserMs social reforms included nationaliBing the cinema in the 196$s, and this had a great and negati-e impact on the film industry. (oon after the esta+lishment of the &eneral OrganiBation of Egyptian 7inema in 1961 and the nationaliBation of the theatres in 1963, directors, producers, and talent fled to *e+anon, ,here they ,or/ed in the *e+anese film industry until the out+rea/ of ci-il ,ar in 19!".

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As soon as Aasser nationaliBed the radio and tele-ision industries in the early 196$s, attendance at mo-ie theatres dropped drastically. 1n the period from 19"" to 19!", the num+er of film theatres declined from 3"$ to fe,er than #"$. Mean,hile, imported foreign films continued to flood the Egyptian mar/et. 4ic/ets to films ,ere hea-ily ta'ed, and the state film organiBation lost a+out ! million Egyptian pounds, slo,ly +ringing state film production to a halt +y the early 19!$s. 4he pendulum effect in funding +et,een pri-ate and pu+lic sectors ,as also damaged +y the increasingly predominant in-estment from the oil3rich &ulf countries, ,hich financed films for tele-ision in the 19 $s and later for satellite distri+ution in the 199$s. 1n addition to their more stringent censorship re.uirements of the usual su+0ects ;se', politics, and religion<, the &ulf producers generally lac/ed a,areness of the aesthetics of cinema. 4he &ulf petrodollars of the 19 $s caused an out3pouring of funded tele-ision sho,s, ,hich led to further decline in the film industry. Ey 199%, Egyptian cinema ,as considered to +e in a state of crisis: the annual production of films had fallen to single digits, a far cry from the annual output of fifty narrati-e features in 19%%. Mean,hile, the reconstruction of post3,ar Eeirut ,as fueling the media e'plosion of the second half of the 199$s, ,hich led to such satellite channels as )otana and &ood Fay from Eeirut and the &ulf states, ,hich no, produce many films for the Egyptian mar/et. Another challenge to independent Egyptian film is the po,er of censors to stifle artistic ,or/ and freedom of e'pression at the slightest hint of percei-ed criticism of religion or of ta+oo su+0ects presented in anything other than a denunciatory ,ay. Eet,een 19!1 and 19!3, during (adatMs early years, any films that dealt ,ith the 196! defeat ,ere +anned, including Il

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Usfur ; The Sparrow, 9oussef 7hahine, 19!3<, +ut since the early 199$s, censorship has +een more acutely attenti-e to religious issues.11

Social 2ositi-e Effects of >ilm 1ndustry to Egyptian8s people 4he themes of the mo-ies ,ere of a huge influence on the Ara+ mentality. 4han/s to them, there ,as a cultural and political a,areness of the Ara+ issues, and they ,ere analyBed and discussed through the films. 5istorically spea/ing, their cinema contri+uted in transforming the +est of the 1slamic and fol/loric heritage ingrained ,ithin their audiences into memora+le flashes of pictures, ,orth thousands of ,ords. (ocially spea/ing, their cinema addressed many issues related to illiteracy, po-erty, crime, the clash +et,een social classes, crimes of honor and others. 2sychologically, they sho,ed a deep sight and a sharp /no,ledge of human nature through un-eiling the geneses of human relationships, emotions and psyche. 4here are se-eral impacts of film industry in Egypt positi-ely. 4he children groups are no, much a,are of the issues li/e se', pregnancy, a+ortion, se' related diseases, myths L superstitions and their participation in social media to spread the /no,ledge +ase is ma/ing it a real phenomenon to count on. *i/e all other mass media, the film industries reflect and are informed +y particular ideological content and conte'ts. 1t is e-ident that film te'ts are constructed ,ithin the conte't of, for e'ample, dominant perceptions a+out the role of ,omen and men, definitions of success and prosperity, and the importance of the family. 4hus, films in Egypt are not created in isolation
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1+id

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from the society in ,hich they operate. At the same time, the films in Egypt reflect certain common sense -ie,s or dominant ideologies ,ithin society. >or e'ample, ,hen films treat the family, it is generally the traditional nuclear family that is accorded the status of normal. 4he main characters often refer to their desire for a ?sta+le@ and traditional happy family, +ut nothing of the sort ,ill e-er happen; this is the situation of the sitcom. )epresentations of ,omen pro-ide a further e'ample of ho, the films affirm social structures and -alues ,ithin particular ideological frame,or/s.1# Aegati-e Effects of >ilm 1ndustry to Egyptian8s people 4here are also negati-e effects that contri+ute to the changing +eha-ior and perception a+out people and their surroundings. Earlier research sho,s ho, the mo-ie and filmare important in emphasiBing any created phenomena, e-en if distorted, as realities in the -ie,ersM cogniti-e perception. 1t also effects and plays an important role, especially ,ith illiterate people ,ho cannot read or ,rite, and usually resort to get information from the. 4hrough emphasiBing the image of the spinster in the drama or mo-ies displayed in the Egypt, as the researcher assumes, people /no, ,hat the spinster loo/s li/e; these perceptions ,hether they are good or +ad, ,ill dominate their minds as they ,ill consider ,hat they ,atch to +e the reality no matter ,hether it is true or not, and it ,ill construct as the social reality in the unconscious. A +eha-ioral impact is the +ig issue negati-ely affected +y the improper use of film industry. 2eer influence, cele+rity influence and e-en some adult influence through their ma/ing can unrest and di-ersify the core moral -alues in children. 4his is something really alarming for the ,hole family especially Egypt as a Muslim8s country.
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)oles and Effects of Media in the Middle East and the 6nited (tates.A Monograph +y *ieutenant 7olonel Ahmed Mady, Egyptian Army, page 6#.

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Moreo-er, /ids are -ulnera+le to frauds and aggressi-e +eha-ior. Dith the increase in uncensored use of film, this ris/ is +ecoming more ,idespread e-ery day. Dhile the gen39 children all across the glo+e are +ecoming smarter in e-ery aspect of life using motion pictures and film, yet ,e cannot dismiss the negati-e effects of social media on them 13.4he children learn -iolence +y seeing mo-ies and 4H programs. 4hey imitate super heroes they see in the screen ,hich may cause danger to their life. 4he o-er e'posure to media ma/e them +eha-e more aggressi-ely, ,hich spoils their future also. Moreo-er, media has negati-e effects on the physical and psychological ,ell3+eing of society. As ,e /no, that lac/ of physical acti-ity such as 0ogging in the recreation place leads to o+esity pro+lems..1% >ilms in Egypt also constructing a negati-e image and shaping the perception of unmarried ,omen ,ithin Egyptian society.4he media, including mo-ies, offers us a reflection of society, demonstrating common cultural +eha-iors and +elief systems and reinforcing them. A mo-ie titled Ashtibah or R(uspicionR ;1991<, acted +y Aaglaa>athy and directed +y Alaa:arim, represents the -acuum and futility that society suffers from ,hen an Minnocent ,omanM is accused of committing adultery. Hie,ers see ho, their society is antagonistic and unsympathetic ,ith the heroine, Aadia, as e-en her family sees her as a criminal ,ho committed adultery. 4he mo-ie sho,s ho, po,erful the media are in shaping people8s perceptions, and that people usually trust ,hat they hear from the media a+o-e their o,n family and friends. 4his mo-ie also sho,s ho, our society and the media represent a pressuring influence on ,omen. Another e'ample is Aa+il )aghe+ ;#$$$< refers to the stereotypes often used in the Egyptian film industry for the sa/e of humor and comedy such as the tyrant or frustrated ,oman. 5e also tac/les different stereotypical themes such as rape and adultery, tragedies of prostitutes, Urfi and secret marriages. Egyptian
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films ha-e historically and continue to construct the single, unmarried ,oman as a spinster through three specific stereotypes:An ugly horri+le ,oman ,ho is desperate to get married, for e'ample the t,o sisters3in3la, ,ho en-ied the young +ride in the mo-ie: Where is M !ifetime" or A n#mr "$ a caricatured or e'aggerated image of the anas ,oman that others should laugh at, as typified +y actress Cenat (ed/y, in mo-ies li/e !ove StreetorSharaa El Hob, and IbnHamido, or a pitiful ,oman ,ho is a disgrace as (anaa&amil in %eda ia We &eha ia or a +urden to her family +ecause she has not married early li/e in Ahl El 'ema, acted +y (oad 5osni. 1"

Conclusion As the conclusion on our e'ploration of this country ,e can conclude that Egypt is one of the earlier countries came into film industry. Although the first film sho,n in Egypt is >rench film, +ut Egypt adopted the industry -ery ,ell. =ust a fe, years after the first sho,, there are se-eral

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4hesis from 5e+aMet,ally, The (ole of E) ptian *ilm in Stereot pin) Sin)le Women , page 6!.

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films made +y Egyptian itself. (o, Egypt is more updated a+out film on that day compared to other Middle East countries. 4he film industry not 0ust an entertainment for resident of Egypt, +ut it also ha-e the another goals or aims to achie-e +y using this media. Mass media play a +ig duty to color the people thin/ing, education, ideology, faith, politic, economic and so on. >ilms already ma/e the changes to Egyptian for e'ample to co-er the Egyptian emotions after they ha-e +een defeated +y Cionist. 5opefully, Egypt ,ill get the sta+ility in social, politic and economic after se-eral political re-olutions happened in #$13 and film ,ill +e a good ,ay to achie-e that in long time or short time period.

References Eoo/s:

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Lieutenant Colonel Ahmed Mady (2009). Roles and Effects of Media in the Middle East and the United States.Fort Leavenworth, Kansas. Yahya . Kamali!our ,"amid Mowlana(#ds).($99%),Mass Media in the Middle

East,A Comprehensive Handbook. London, &reenwood 'ress. A(dullah "assan. (200$). 'ro)eedin*s o+ ,he -nternational Convention on ,he role o+ Media in .on/Ali*ned Countries. Malaysia,--0M 'ress.

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http:JJsocialmediaclu+.orgJ+logsJsocial3media30ournalJsocial3media3and3its3effect3children3 interceptionSsthash.CEiT6n9!.dpuf http:JJ,,,.+uBBle.comJarticlesJnegati-e3influences3of3media.html

http:JJ,,,.factmonster.comJip/aJA$1$!% %.html http:JJ,,,.europeanforum.netJcountryJegypt


http://www.luxorafricanfilmfesti al.com/!esources/"#$pt/histor$%of%cinema%e#$pt
http://www.science&irect.com/science/article/pii/'2210831912000033

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