Building a competent regualtory model for the development of an egalitarian film industry in Egypt (2005-2015)
- Autores: Mervat Ahmed Shafik Abououf
- Directores de la Tesis: José Manuel Pérez Tornero (dir. tes.)
- Lectura: En la Universitat Autònoma de Barcelona ( España ) en 2017
- Idioma: español
- Tribunal Calificador de la Tesis: María Rosario Lacalle Zalduendo (presid.), Samy Tayie (secret.), María del Carmen García Galera (voc.)
- Programa de doctorado: Programa de Doctorado en Comunicación y Periodismo por la Universidad Autónoma de Barcelona
- Materias:
- Enlaces
- Tesis en acceso abierto en: TESEO
- Resumen
The study provided an overview about Egypt’s development of the film industry with the purpose of identifying that filmmaking have increasingly become unstructured, random and unsystematic with no well-defined regulatory standards to govern and administer this popular medium, which represented an important source of net national income and profit, as well as celebrity and esteem for Egypt. To address the urgent need for reviving Egyptian cinematography, this pioneer research provided the foundation for building a competent regulatory model for the development of an egalitarian film industry. The timeframe of the study fell within 2005 and 2015, with special emphasis on the industry’s state in the aftermath of the January 25 Revolution in 2011. The methodology designed employed a qualitative descriptive research with a SWOT analysis and in-depth interviews with 20 experts in diverse fields leading the industry in Egypt to answer major and minor research questions. The theoretical framework applied two theories of legal nature: John Rawls’ Egalitarian Theory of Justice that emphasizes social justice, via an egalitarian approach as well as The Meiklejohnian Theory, which promotes freedom of expression as a means to an end, be it successful self-government. The intention was to create a feasible and efficient model that leverages the industry’s political, economical and cultural components taking into account all stakeholders in the industry, attempting to overcome drawbacks encountered by the industry as a result of the absence of a consistent regulatory framework that governs the industry, yet with minimal government interference. Key findings that were demonstrated in the proposed regulatory model included, on a political front, results indicating that political regulatory standards and legislative amendments are essential to current industry related laws, which are either obsolete or not seriously implemented. On the economic front, the study demonstrated that Egypt needed to set policies and establish strategies that facilitate the operational role in film productions in order to face the industry’s market failure. Implementing strict piracy laws, increasing state subsidies, decreasing excessive bureaucracy in issuing permits, as well as reducing costs of shooting in historical, monumental and/or public locations are all means to overcome current market failure. On the cultural front, Egyptian cinema as a soft power with its outlet that allows connectivity and interrelation in a globalized world, acts as mediator bringing the Egyptian and Arab culture to the world of the West. Cultural aspects need to take into account the industry’s roles in social responsibility, preserving local culture and dialect and combatting radicalism. In conclusion, this thesis provided a regulatory foundation that embodies political, economical and cultural aspects shaping the film industry. It detected that the authoritative powers may themselves be the source of obstacles impairing the industry. The study pinpointed and prioritized regulatory aspects and strategies that needed to be adopted and implemented by industry-related stakeholders who need to collaborate to overcome the chronic impediments facing the industry, particularly in terms of enforcing legislations and articles in pertinent laws and in the Egyptian Constitution effectively and competently.
