Who is behind the financing of political film? Attempt to answer this question requires entry to the same critical region that income all filmmakers who have participated in providing this kind of films. And if it confirms that the economic base of capital (coward), it becomes more (cheese) when dealing with the film industry and turn to the (mouse paranoid) if the film was made politically.And from here away most of the producers from entering into the film's political and from here - well - the appearance of any movie of such quality raises always questions and speculation about the source of funding that is clean and jerk to him often with suspicion and distrust, as it did not spend generously, but to express Alfblm for political orientation, even if this led to become the director and actors just speak out loud, wooden dolls. The difference in the case of the film normal, who lives on the basis of elements of art, the film is political Bthber political controversy, and here, as is the case in political issues, party agree with the political issue raised by the film and another is different with him to begin to raise the charge caterer (who was behind the financing of this movie!)Not decoupled policy days on the Egyptian cinema .. but levels varied addressed. The most common is a level in which they appear political ideas Mrttbt Ngfah central idea of social, as happened in films (Zainab) (conflict in the valley) (Bully) (beginning and end) (Adrift on the Nile) (bars and night) the (summit) (Ghoul ) (Pay attention, ladies and gentlemen) (bus drivers) (Hatem Zahran time) (citizen Egypt) (Days of Wrath) and dozens of other social issues dealt with from a political perspective or political issues from a social perspective and the level of funding was not tainted by any suspicion because all These films dealt with issues of internal and Egypt took over funding Producers or Egyptian bodies .. And the same thing applies to the second level of the films, which policy was concerned with the first and the only .. It was not the source of funding is the problem of those films, but the control that has made films such as (Reply my heart) Cairo (30) (Man in Our House) (sunset and sunrise) do not appear until after the 1952 revolution because they were critical of are conditions and personally T. political in the monarchy. . In contrast, films such as (the sons of silence) (shade, on the other side) (Karnak) (Behind the Sun) (bird sad night), which criticized some of the political practices in the era of Gamal Abdel Nasser did not appear only in the era of Anwar Sadat, who is not - also - make movies critical of his policies, but after his departure .. Since the early eighties increased area of freedom available to the makers of those types of films appeared (innocent) (escape) (playing with adults) (Terrorism and Kebab) (Birds of Darkness) and other films, which discussed the relationship of power to citizens. And did not raise the funding also any questions or suspicions in the third level of the films, which dealt with the politics of the area from espionage and the role played by the Egyptian intelligence in different periods it was financing these films nationally and often individually beginning of the film (a crime in the neighborhood region) and through (b ascent into the abyss) (death is dead) (well treason) and finally (and sons uncle).As for films that dealt with politics at the level of projection fleeing to date or Alrmzvkd varied positions of the funding, while the movie (something of fear) Egypt funding, and this is not the movie to see the light without the humor parody of Nasser when he decided to Minister of Culture, the film to Abdel Nasser after rumors proliferated about the novel that the personality of the hero and the tyrant (Atrees) denotes Abdel Nasser, there was only commented sarcastically that (if the hero symbolizes to me inevitably Sasthak the end that he won. Balash You offer the film of course is nonsense!). Italy has participated in the financing of film (Falcon), directed by Salah Abu Seif in 1949 the question arises about the motivation behind the Foundation, especially as the film showed the Arabs in the image that appeals to the West, desert and horses and castles and legendary men Bedouins and intrigues and conspiracies in the dark.The last level which has not raised suspicions of funding, the films, which made the lives of presidents and the most prominent (Nasser 56) and (Sadat) creator of the late artist Ahmed Zaki, and take the debate around the last curve insisted on feeding Ahmed Zaki himself about the division of views about films on the go each political group rather than to judge the two works purely from a technical perspective as he wanted to Ahmed Zaki, and I am a party in one of these debates, even though I wrote about both works from the perspective of a purely technical.And take the question about the motive of the true dimensions of external financing in the films directed by and put a specific political point of view or particular look of the Egyptian society and Arab issues. Have contributed to France - for example - in the financing of many films directed by Youssef Chahine most important (Farewell Bonaparte) and (Cairo enlightening its people) and accused the director distorting the Egyptian reality and falsification of history in line with the objectives of sponsors, also directed Salah Abu Seif film (Qadisiyah) funded Iraq and accused of - well - he was with the Egyptian actors in the film just expressing their point of view, the Iraqi official, and that the battle (Qadisiyah) original altered to become a (Qaddissiya Saddam Hussein!) and the same thing happened when Representatives Egyptians in the film, Morocco (I'll write your name on the sand), directed by Moroccan Abdullah Mesbahi. The director Tawfik Saleh has provided the most important work (Dupes) financed Syrian Arab Republic, and (long nights), with funding Iraq and of course did not deliver Tawfik Saleh of charge being made pursuant to bright highlights some of the fascist regime.About his experience with the film (Naji Al Ali) - one of the most political films that have sparked controversy - the artist Nour El-Sherif always repeats the phrase to summarize all the attack on the(It seems that the defendant - a political film in our case - will remain the subject of condemnation until he proves his innocence!!)
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