Written by: Alexandra Kinias
On its journey from birth to screen, Egyptian movies require triple permits before they see the light. The screenplay must first be approved before a shooting permit is issued. Before the movie is shot, the censorship bureau can demand the removal of scenes, tamper with the story or even change the title as happened with Cairo Exit which its initial title was Egypt Exit. Unless producers comply with such requirements, movies will forever remain on paper. Once a movie is shot, a screening permission must be granted. And as a final reminder of who has the upper hand, the bureau reserves the right to revoke the screening permit at any time and for any reason.
Refusing to comply with the requirements to change the faith of the female character, the screenplay Cairo Exit was not approved. In lieu of shooting permits, the movie was shot underground since carrying a film camera on the street of Cairo without a permit is a felony. In spite of the games of hide and seek played between the movie crew and policemen, in civilian clothes roaming the streets, the shooting was completed.
The first censorship law in Egypt was drafted on November 26, 1881 as a reaction to Ahmed Orabi’s revolution against the British occupation. To curb the freedom of press after nationalistic newspapers in support of the revolution flooded the market, control over the media was born. An amendment to the law was made in 1904 that included censorship over movies and theatrical performances. Prior to that date, movies that were screened in Egypt, since 1896, and theatrical performances were under the direct control and discretion of the police chief.
Against the belief of the masses, the censorship bureau was not essentially created to protect family values, but its objective was primary political to safeguard the government and its leaders. Unfortunately, nothing has changed since then. However, with the religious surge in Egypt, those who proclaimed themselves as custodians of morality rode the wave to benefit from the censorship that has assisted them in spreading their ideologies.
To silence the voices and switch off the brains of the people, censorship becomes essential for the existence of totalitarian regimes. With adding a tint of religious and family values to its objectives, no one dares to dispute its motives. It comes as no surprise that movie censorship thrived under the reign of Mubarak’s corrupt regime.
To safeguard moral and family values, countries worldwide have instituted the rating system whose purpose is to alert viewing audiences of the contents which maybe objectionable to some. However, banning movies, to stop people from watching them is a common practice of totalitarian control. It is an insult to assume that people are unable to think for themselves and thus need the guidance from decision makers to tell them what they should watch, or how they should think and behave.
As in other countries, Egypt also has its own inconvenient truths embedded in the society such as female genital mutilation, sex out of wedlock, women who turn to prostitution for a living or interfaith relationships. Banning movies that discuss such issues on the basis that they defame the society is a form of mental manipulation as denial of an existing problem is a delusional approach to solve it. On the contrary such important social issues require people’s awareness rather than wishing them away. Only when addressed, then they may be resolved.
In addition to that, the ban of movies or books resulted in restricting creativity which unfortunately doesn’t come with an operating manual with guidelines to follow. Over the years, censorship has achieved nothing but an overall decline of talents.
It is ironic to see the books that were published in Egypt in the early twentieth century are being banned in the twenty first century. No wonder that when the dispels of the cultural renaissance of the twenties and thirties in Egypt, like Abbas Mahmoud Al- Akkad and Nagub Mahfouz, two of Egypt’s notable writers, took responsibility of the censorship bureau, Egypt’s cinema witnessed its golden age. The set back of the Egyptian movie industry happened with the revolution of 1952 when the industry was nationalized and censorship escalated to protect the revolution.
Today’s censorship officials in Egypt are the sons of the era that witnessed the cultural decline. Their qualifications are not important anymore because the job description nor longer requires creativity and talent, but total submission to the regime’s doctrine.