In the decade after the revolution of 1952, Egyptian films often echoed the political ideals of the new regime—and the movie posters produced in conjunction with those films sometimes embodied officially articulated attitudes toward Western influence and Egyptian history. This article considers a range of discursive strategies in examples of surviving posters produced in the 1950s and early 1960s but concentrates primarily on the representation of women in relation to public space—and it argues, ultimately, that the posters formed part of a broad attempt to define a traditionally and uniquely Egyptian public domain, in opposition to Western influence, in modern Cairo.
The product of an American University in Cairo seminar concerned with the 2011 revolution and issues of translation:http://translatingrev.wordpress.com/
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