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Countryside and creativity freedom and the cinema production support are conditions for the production of new creative cinema

The Land Center for human rights organized the panel discussion workshop "The Cinema after the 25th of January" which was attended by a number of filmmakers, researchers, critics and political activists, on Thursday, the 31st of March 2011 at the Centre in Cairo.
The workshop began with showing the film "The complaints of Eloquent Peasant", directed by Shadi Abdel Salam, then the first meeting started under the title "The cinema vision about rural areas of Egypt" which was moderated by critic (Ahmed Adel Alqdabi), and its speech was discussed by both the director (Tawfiq Saleh), writer and critic (Mahmoud Kassem), and discussions centered on how to falsify vision film to issues of rural peasants, and talked (Tawfiq Saleh) about his experiences in the output of the film "Diaries of a representative in the countryside", while (Mahmoud Kassem) focused on the stability of the image of rural farmers and processors in cinema, describing them as having been made Rural coated with powder before July 1952. The discussions focused on the extent of awareness of the vision of the filmmakers? Who is in control of these visions and directed, is it the product or filmmakers or issues? The debate on the deteriorating conditions, particularly as the film producers are not only interested in profiting from the film industry, regardless of the role of cinema in the rise of society and human progress.
Then, the second session, which was centered on "Control after 25 January" chaired by the director (Basem Adel) and it mainly was discussed by Dr (Sayed Khattab) The Director of Censorship and the critic (Abdul Ghani Dawood). Dr (Sayed Khattab) described this meeting as part of the revolution of January 25th to achieve its objectives, where the revolution is still under formation; also he considered that the dialogue at this meeting is an integral part of the national dialogue that began on the day before the workshop's day. The speech explained that the law of arts work puts real powers, creativity, and it works across three orientations which imposes the guardianship of rubber on creativity are: to preserve public morals, maintaining public order, taking into account the interests of the State Supreme Court. Dr. (Sayed Khattab) that he had made a new law to the draft to the Control seven months ago. The large number of participants and expressed their rejection of the control of the repressive role of creativity, House and much controversy about the role of control and perceptions of this role. Critic (Abdel Ghani Dawood) focused his on the history of censorship in Egypt and the evolution of its role throughout history. The meeting is an open discussion of form and function of control later on January 25th, since it is not logical to continue to freedom of expression to what it was before the Jan. 25. The discussion confirmed that it is not permissible to place restrictions or conditions on the freedom of creativity, because society is the control and separator real precious art.
The third session, moderated by author (Abdel Aziz Jamal al-Din), a researcher and a historian, assured that "The views of filmmakers, critics and the interested people and their aspirations for cinema after the 25th of January" presented by the academic researcher (Nader Rifai) and a research paper analyzed the correlation cinema mobility of political and social, stressing that the film deals with the political arena as entertaining as it is given a cost, and monitoring is rare in the analysis of trends in the Egyptian cinema before January 25, it depended on the orientations are three: comedies of the only hero movies social criticism stream of independent cinema. Nader tried to provide a vision about how to correct the Egyptian cinema to put it in terms of raised and addressed issues and concerns of the homeland and citizens, and select some of the features of this new situation. And plug in the audience with him in a long debate in which he reviewed author (Abdel Aziz Jamal al-Din) The date of film production in Egypt since the revolution of 1952, also (Abdel Ghani Dawood) provided a critical reading of the historical reality of Egypt since 1952, emphasizing on the aspiration that exceed the cinema after the January 25 negative aspects of this past which grows by the growth of the new social forces which raised the slogans (freedom and social justice) to determine the form of cinema later after January 25th.
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