¹ Chahine, Youssef, dir., al-ʿUsfur (Cairo: Misr International Films, 1974)Google Scholar, DVD, 1:34:24–1:42:00. Some of these shots did not exist in an early version of the script, handwritten by Chahine in a school notebook, such as Yusuf's line and the shot of the security commander; La Cinémathèque française, Paris, CHAHINE1-B1, Ensemble de notes pour al-Asfour (Le Moineau), Senaristique/Documentations II/III, Scenes 54–95.

² The date refers to the year in which the film was commercially released.

³ Egyptian Catholic Center for Cinema, Cairo (hereafter ECCC), al-ʿUsfur, file no. 1598.

⁴ The term cineast here refers to any person involved in the process of filmmaking.

⁵ For years, the Egyptian perspective of the war was accessible only through memoirs or historical fiction authored by military men, such as: Darraz, ʿIssam, Dubat Yunyu Yatakalamun: Kayfa Shahada Junud Misr Hazimat 67 (Cairo: al-Manar al-Jadid, 1989)Google Scholar; Fawzi, Muhammad, Harb al-Thalath Sanawat 1967/1970 (Cairo: Dar al-Mustaqbal al-ʿArabi, 1990)Google Scholar; and al-Jawadi, Muhammad, Mudhakirat Qada al-ʿAskariyya al-Misriya 1967: al-Tariq ila al-Naksa (Cairo: Dar al-Khayyal, 2000)Google Scholar. Another important account, written not by a military man but by a journalist and Nasser's closest confidant, is Muhammad Hasanayn Haykal's Harb al-Thalathin Sana: al-Infijar 1967 (Cairo: Dar al-Shuruq, 1990).

⁶ Mamduh Anis Fathi, Mina al-Thawra ila al-Naksa: Muqadimat Harb Huzayran/Yunyu 1967 (Abu Dhabi: Markaz al-Imarat li-l-Dirassat wa-l-Buhuth al-Istratijiyya, 2003). Khaled Fahmy's new project is “an attempt at a coherent, if tense, revisionist narrative” of the war; he has written short articles and also given a series of public lectures on “The Egyptian Army in the 1967 War” (6 May 2020, https://khaledfahmy.org/en/2020/05/10/the-egyptian-army-in-the-1967-war). See also Kandil, Hazem, Soldiers, Spies, and Statesmen: Egypt's Road to Revolt (London: Verso, 2012)Google Scholar; Abul-Maged, Zeinab, Militarizing the Nation: The Army, Business, and Revolution in Egypt (New York: Columbia University Press, 2017)CrossRefGoogle Scholar.

⁷ For the intellectual response, see, for example, Abu-Rabiʿ, Ibrahim M., Contemporary Arab Thought: Studies in Post-1967 Arab Intellectual History (London: Pluto Press, 2004)Google Scholar; Kassab, Suzanne Elizabeth, Contemporary Arab Thought: Cultural Critique in Comparative Perspective (New York: Columbia University Press, 2010)Google Scholar; and Haugbolle, Sune, “The New Arab Left and 1967,” British Journal of Middle Eastern Studies 44, no. 4 (2017)CrossRefGoogle Scholar. For the impact on culture and society, particularly film, see Armbrust, Walter, Mass Culture and Modernism in Egypt (Cambridge, NY: Cambridge University Press, 1996)Google Scholar; al-Din, Durriya Sharaf, al-Siyasa wa-l-Sinima fi Misr, 1961–1981 (Cairo: al-Hayʾa al-Misriyya al-ʿAmma li-l-Kitab, 2002)Google Scholar; Gordon, Joel, Revolutionary Melodrama: Popular Film and Civic Identity in Nasser's Egypt (Chicago: Middle East Documentation Center, 2002)Google Scholar; Shafik, Viola, Popular Egyptian Cinema: Gender, Class, and Nation (Cairo: American University in Cairo Press, 2006)Google Scholar; and Mostafa, Dalia Said, The Egyptian Military in Popular Culture: Context and Critique (New York: Palgrave Macmillan, 2017)CrossRefGoogle Scholar.

⁸ Seikaly, Sherene, “Introduction,” JadMag 6, no. 1 (2018): 6Google Scholar. It is worth noting here that although many of the works mentioned above do touch upon the general mood in post-1967 Egypt in their studies, emotions, or more specifically the emotional response of Egyptians, is often brought up in passing but not as the main object of inquiry. One of the exceptions is Yunis, Sharif, al-Zahif al-Muqadas: Mudhaharat al-Tanahi wa-Tashakul ʿIbadat Nasser (Cairo: Dar Mirit, 2005)Google Scholar.

⁹ See, for example, Ajami, Fouad, The Arab Predicament: Arab Political Thought and Practice since 1967 (Cambridge, UK: Cambridge University Press, 1981)Google Scholar; Abu-Rabiʿ, Contemporary Arab Thought: Studies; Kassab, Contemporary Arab Thought: Cultural Critique; and Belli, Mériam N., An Incurable Past: Nasser's Egypt Then and Now (Gainesville, FL: University Press of Florida, 2013)CrossRefGoogle Scholar.

¹⁰ This is known as the intentionalist approach to the study of emotions, which argues that “the relation an emotion bears to its object is not an accidental or contingent attribute but an essential feature,” as opposed to the nonintentionalist approach, which believes that “the discharge of the emotions occurs independently of the subject's cognition or apprehension of the meaning of the triggering stimuli”; Jonaz Knatz and Nuala Caomhánach, “The Ascent of Affect: Emotions Research and the History of Emotions—Interview with Ruth Leys,” Part 2, Journal of the History of Ideas (blog), 20 April 2020, https://jhiblog.org/2020/04/20/the-ascent-of-affect-emotions-research-and-the-history-of-emotions-interview-with-ruth-leys-part-ii.

¹¹ Plamper, Jan, “The History of Emotions: An Interview with William Reddy, Barbara Rosenwein, and Peter Stearns,” History and Theory 49, no. 2 (2010): 259CrossRefGoogle Scholar.

¹² Rajamani, Imke, “Pictures, Emotions, Conceptual Change: Anger in Popular Cinema,” Contributions to the History of Concepts 7, no. 2 (2012): 52CrossRefGoogle Scholar.

¹³ Dezheng Feng and Kay L. O'Halloran, “The Multimodal Representation of Emotion in Film: Integrating Cognitive and Semiotic Approaches,” Semiotica 197 (2013): 81.

¹⁴ See, for example, al-Sawi, Muhammad, Sinima Youssef Chahine: Rihla Idyulujiyya (Alexandria: Dar al-Matbuʿat al-Jadida, 1990)Google Scholar; Kiernan, Maureen, “Cultural Hegemony and National Film Language: Youssef Chahine,” Alif: Journal of Comparative Poetics, 15 (1995): 130–52Google Scholar; Fawal, Ibrahim, Youssef Chahine (London: British Film Institute, 2001)Google Scholar; Shmayt, Walid, Youssef Chahine: Hayat li-l-Sinima (Beirut: Riad el-Rayyes Books, 2001)Google Scholar; al-ʿAris, Ibrahim, Youssef Chahine: Nazrat Tufl wa-Qabdat al-Mutamarid (Cairo: Dar al-Shuruq, 2009)Google Scholar; Muharram, Mustafa, Youssef Chahine: Aflam al-Sira al-Dhatiyya (Cairo: al-Hayʾa al-Misriyya al-ʿAmma li-l-Kitab, 2009)Google Scholar; Khouri, Malek, The Arab National Project in Youssef Chahine's Cinema (Cairo: American University in Cairo Press, 2010)CrossRefGoogle Scholar.

¹⁵ Kaes, Anton, “German Cultural History and the Study of Film: Ten Theses and a Postscript,” New German Critique 65 (1995): 56–57Google Scholar.

¹⁶ “Emotional communities” was coined by historian Barbara H. Rosenwein to mean “social groups that adhere to the same valuations of emotions and how they should be expressed”; Plamper, “History of Emotions,” 253.

¹⁷ Al-Ard premiered in Cinema Rivoli in Cairo on 26 January 1970, remained in theaters for seven weeks, and attracted a total of 144,100 viewers in its first round, ranking fourth in revenue among fifty-one films screened in the 1969/70 season, preceded by Miramar, Nadya, and Nahnu La Nazraʿ al-Shuk; Aflam al-Mawsam al-Sinimaʾi 1969/70 (Cairo: al-Muʾasasa al-Misriyya al-ʿAmma, Idarat al-Buhuth, 1970). Al-Ikhtiyar premiered in Cinema Rivoli in Cairo on 15 March 1971 and ranked fifth in revenues and number of viewers among forty-six films released in the 1970/71 season; ʿAbd al-Munʿim Saʿd, al-Sinima al-Misriyya fi Mawsim 1970/71 (Cairo: Matabiʿ al-Ahram al-Tijariyya, 1971), 245. Al-ʿUsfur was screened briefly in 1972 only to be banned for two years until its release on 26 August 1974 in Cinema Ramsis. In a 1974 referendum organized by Jamʿiyat al-Film (the Film Society, established in Cairo in 1960), al-ʿUsfur was voted best Egyptian film for that year by the society's members, most of whom were critics; Weekly Bulletin of Jamʿiyat al-Film 113, 15 February 1975.

¹⁸ According to Reinhart Koselleck, “On the one hand, every human community has a space of experience out of which one acts, in which past things are present or can be remembered, and on the other, one always acts with reference to specific horizons of expectation”; “Time and History,” in The Practice of Conceptual History: Timing History, Spacing Concepts, trans. Todd Presner, Kerstin Behnke, and Jobst Welge (Stanford, CA: Stanford University Press, 2002), 111.

¹⁹ A “crisis of time” is defined by François Hartog as a period when “time seems to have come to a halt, to have lost its bearings”; Regimes of Historicity: Presentism and Experiences of Time, trans. Saskia Brown (New York: Columbia University Press, 2016), 106.

²⁰ ʿAbd al-Munʿim Saʿd, al-Sinima al-Misriyya fi Mawsim 1974 (Cairo: Matabiʿ al-Ahram al-Tijariyya, 1974), 5.

²¹ Some consider al-Ikhtiyar the first part of this trilogy, making ʿAwdat Ibn al-Dal (The Return of the Prodigal Son, 1976) its final installment. Some even refer to all four films as the tetralogy of the defeat. This article, however, considers the trilogy to be al-Ard, al-Ikhtiyar, and al-ʿUsfur for two reasons: first, ʿAwdat Ibn al-Dal was produced after the 1973 October War, that is, outside this “crisis of time” that the defeat seems to have engendered; and second, Chahine himself refers to al-ʿUsfur as the culmination of a phase that started in the wake of the defeat. See ECCC, al-ʿUsfur, file no. 1598, Mary Ghadban, “al-ʿUsfur . . . Qadiyyat Atthar al-Ahdath al-Tarikhiyya fi Misr,” 2 November 1972.

²² “Li-l-Fann Faqat” section, Ruz al-Yusuf 2172, 26 January 1970, 40.

²³ Some of the reviews were reproduced in “Hommage à Youssef Chahine à la cinémathèque française et projection de ‘La terre,’ a l'UNESCO,” Bulletin du centre interarabe du cinéma et de la télévision 68, 31 January 1970, 2–4. On 9 March 1970, the film was screened again in Paris, and Chahine was honored two days later at La Cinémathèque française; National Center for Cinema, Cinematic Cultural Center, Cairo, file al-Ard, “Film al-Ard li-Youssef Chahine Kama Yarah Nuqad Bariz,” Alif Layla wa-Layla, 12 March 1970.

²⁴ “The UAR at the 23rd Cannes Festival: The Festival Critics and Shahin's ‘The Earth,’” Bulletin du centre interarabe du cinéma et de la télévision 74/75, 1 July 1970, 12–13. The black comedy war film MASH by Robert Altman won the Palme d'Or that year.

²⁵ ʿAdli Fahim, “al-Butula Jamaʿiyya wa-l-Tajruba Jamaʿiyya Aydan,” Ruz al-Yusuf 2174, 9 February 1970, 36; Jalal al-Ghazali, “al-Ard Mihwaruhu al-Insan wa-Nasijuhu al-Insan,” al-Sinima 9 (1969): 35–39; Fathi Faraj, “Shakhsiyat al-Fellah fi al-Sinima al-Misriyya,” al-Taliʿa 6 (1974): 166.

²⁶ ʿAbd al-Rahman al-Sharqawi, al-Ard (Cairo: Dar al-Shuruq, 1953); Egyptian Earth, trans. Desmond Stewart (London: Saqi Books, 2005).

²⁷ “Tamthiliyyat al-Shahr al-Musalsila: al-Ard,” al-Idhaʿa wa-l-Talvizyun 1316, 4 June 1960, 40. ʿAbd al-Rahman al-Sharqawi participated in turning the novel into a play, assisted by the writer Amina al-Sawi, and it was directed by Saʿd Ardash; ʿAbd al-Qadir Hamida, “Masrah al-Talvizyun Yuqadim al-Ard,” al-Idhaʿa wa-l-Talvizyun 1414, 12 April 1962, 10–13.

²⁸ Nahwa Intilaq Thaqafi fi Funun al-Masrah wa-l-Musiqa wa-l-Sinima wa-l-Kitab wa-l-Funun al-Jamila: Khutta li-l-ʿAmal al-Thaqafi, ʿAmm 1967/68 (Cairo: al-Muʾasasa al-Misriyya al- ʿAmma li-l-Taʾlif wa-l-Nashr, 1967), 113.

²⁹ Samar Hadi, “Hasan Fuʾad, min al-Rasim ʿala al-Judran ila al-Ard,” al-Film 15 (2018): 30.

³⁰ J. P. Peroncel-Hugoz, “Une Interview exclusive de Youssef Chahine,” La Nouvelle revue du Caire 1 (1975): 208.

³¹ “Youssef Chahine, entretien avec Guy Braucourt,” Revue du cinéma 238 (1970), as cited in Youssef Chahine dans tous ses états: Rétrospective en 12 films (Paris: Tamasa, 2018). This was not the only task that they carried out together. It was reported that Chahine did not make any casting decision without consultation with Hasan Fuʾad. Hadi, “Hasan Fuʾad,” 30.

³² Claude-Marie Tremois, as cited in “La Terre,” CinémAction no. 33, Youssef Chahine l'Alexandrin (Paris: Les Editions du Cerf, 1985), 113 and Christian Bosseno, “‘Battling Jo,' un humaniste fou de cinéma,” CinémAction no. 33, 8.

³³ Ted Swedenburg, “The Palestinian Peasant as National Signifier,” Anthropological Quarterly 63, no. 1 (1990): 18. See also Ridda al-Tayyar, al-Fellah fi al-Sinima al-ʿArabiyya (Beirut: al-Muʾasasa al-ʿArabiyya li-l-Dirasat wa-l-Nashr, 1980); and Samah Selim, The Novel and the Rural Imaginary in Egypt, 1880–1985 (Abingdon, UK: Routledge, 2004).

³⁴ Susannah Downs, “Egyptian Earth between the Pen and the Camera: Youssef Chahine's Adaptation of ʿAbd al-Rahman al-Sharqawi's al-Ard,” Alif: Journal of Comparative Poetics 15 (1995): 160.

³⁵ Youssef Chahine, dir., al-Ard (Cairo: al-Muʾasasa al-Misriyya al-ʿAmma li-l-Sinima, 1970), Netflix, https://www.netflix.com/title/81252548, 2:08:45.

³⁶ Al-Ard was edited by Rashida ʿAbd al- Salam, who collaborated with Chahine on several of his films, including al-Ikhtiyar and al-ʿUsfur. In an interview with ‘Abd al-Salam, she talks about how she used to edit the first draft of the film on her own, leaving certain scenes to discuss with the director. On her professional relationship with Youssef Chahine, she recalls the mutual trust they had in each other's vision and talent. ʿAdil Munir, Rashida ʿAbd al- Salam: Sabiha fi Bahr al-Zaman (Cairo: Wizarat al-Thaqafa, Sanduq al-Tanmiyya al-Thaqafiyya, n.d.), 11–17.

³⁷ Poet Nabila Qandil wrote the lyrics, and her husband, ʿAli Ismaʿil, composed the music.

³⁸ Tharwat ʿUkasha, Mudhakirati fi al-Siyasa wa-l-Thaqafa (Cairo: Dar al-Hilal, 1990), 764.

³⁹ Ahmad Badrakhan in Majallat al-Sinima 7 (1967): 2.

⁴⁰ “Al-Thawra Qaʾima . . . al-Maʿraka Mustamira . . . wa-l-Nasr Halifuna,” al-Taliʿa 7 (1967): 4–8.

⁴¹ Wolfgang Schivelbusch, The Culture of Defeat: On National Trauma Mourning, and Recovery, trans. Jefferson Chase (London: Picador, 2004), 17.

⁴² National Center for Cinema, Cinematic Cultural Center, Cairo, file al-Ard, Samir Farid, “al-Ard: Hal Tuhawil al-Sahyuniyya Manʿahu fi ‘Cannes’?”

⁴³ Chahine, al-Ard, 1:06:51.

⁴⁴ Ibid., 1:10:41.

⁴⁵ Ahmad Hamrush, “Hata la Yatakarar al-Faragh,” Ruz al-Yusuf 2087, 10 June 1968, 4.

⁴⁶ Chahine, al-Ard, 1:15:56.

⁴⁷ Samir Farid, “Hiwar maʿ Youssef Chahine: Urid an Atahadas ʿan Haqiqati wa-Haqiqat Zamani,” al-Hilal 11, 1 November 1976, 95. Chahine made similar comments in other interviews as well, in which he states that al-Ard marked a turning point in his cinematic career, emphasizing that all the films he made after al-Ard were somehow affected by the defeat. See Claude Michel Cuny, “Entretien avec Youssef Chahine,” Cinéma 180 (1973): 96–99; and Michel Fargeon, “Interview: Youssef Chahine,” UNESCO Courier 9 (1997): 47–49. For more on his reasons for leaving Egypt, see Iris Nazmi, “Youssef Chahine: Harabtu Khawfan min al-Qitaʿ al-ʿAmm,” Akhir Saʿa, 1659, 10 August 1966, 38–39.

⁴⁸ Farid, “Hiwar maʿ Youssef Chahine,” 95.

⁴⁹ Hadi, “Hasan Fuʾad,” 31.

⁵⁰ Farid, “Hiwar maʿ Youssef Chahine,” 95; “Interview with Yusuf Shahin,” Bulletin du centre interarabe du cinéma et de la télévision 87/88, 1 February 1971, 15.

⁵¹ Chahine, al-Ard, 1:30:30.

⁵² Fawal, Youssef Chahine, 77.

⁵³ ʿAbd al-Wahab al-Sharqawi, “Youssef Chahine wa-Sinima ʿArabiyya Waʿiyya Adrakat Sanat al-Rushd,” Doha 11, 1 November 1976, 125.

⁵⁴ Youssef Chahine, dir., al-Ikhtiyar (Cairo: al-Muʾasasa al-Misriyya al-ʿAmma li-l-Sinima, 1971).

⁵⁵ Nasir Husayn, “Khalas . . . al-Jumhur mush ʿAyiz kida,” Ruz al-Yusuf 2243, 7 June 1971, 42–43; al-Sharqawi, “Youssef Chahine wa-Sinima,” 125.

⁵⁶ “Interview with Yusuf Shahin,” 13–14. See also Darwish Birjawi, “Youssef Chahine fi al-Ikhtiyar Yaʿrud ʿAdalatihi wa-Yafrid ʿala al-Mutafarij an Yufakir fi ma Yamur Amamahu min Taʿqid,” Adwaʾ wa-Zilal, 16 January 1971, 14.

⁵⁷ Hashim al-Nahas, “al-Ikhtiyar,” Nashrat Nadi al-Sinima bi-l-Qahira 4, no. 12 (1970/71): 3–10; “Min Hadith li-Youssef Chahine maʿ Sami al-Salamuni,” al-Funun 1, no. 2 (1971): 163; Saʿd, ʿAbd al-Munʿim, al-Sinima al-Misriyya fi Mawsam 1972 (Cairo: Matabiʿ al-Ahram al-Tijariyya, 1972), 61Google Scholar.

⁵⁸ ECCC, al-Ikhtiyar, file no. 1450, Saʿd al-Din Tawfiq, “Man Huwa al-Ladhi Yaʿtabir Mahmud Mathalan Aʿla?”

⁵⁹ Chahine, as cited in Khouri, Arab National Project, 82.

⁶⁰ “Interview with Yusuf Shahin,” 14.

⁶¹ Samir Nassri, Muhawarat Samir Nassri maʿ Youssef Chahine (Cairo: Samir Farid, 1997), 16. This statement also is emphasized in the press book of the film: “There comes a time in one's life that they have to say no, but what happens if they don't say it?”; ECCC, al-Ikhtiyar, file no. 1450.

⁶² “Interview with Yusuf Shahin,” 13.

⁶³ ECCC, al-Ikhtiyar, file no. 1450, Samir Farid, “al-Ikhtiyar wa-l-Bahth ʿan Ashkal Jadida,” 25 March 1971; Tawfiq, “Man Huwa al-Ladhi Yaʿtabir Mahmud Mathalan Aʿla?”

⁶⁴ Samak, Qussai, “The Politics of Egyptian Cinema,” MERIP Reports 56 (1977): 14Google Scholar. See also Armes, Roy, “Youssef Chahine and the Egyptian Cinema,” Framework 14 (1981): 14Google Scholar.

⁶⁵ Nader Habib, Pierre Loza, and Engy El-Naggar, “A Master and His Mantle,” al-Ahram Weekly Online 810, 31 August 2006, https://www.masress.com/en/ahramweekly/12486.

⁶⁶ al-Azm, Sadik, Self-Criticism after the Defeat (London: Saqi Books, 2011), 72Google Scholar.

⁶⁷ Ibid., 72, 74.

⁶⁸ Ibid., 74.

⁶⁹ Ibid., 2.

⁷⁰ al-Khuli, Lutfi, “Yunyu 1967–Yunyu 1968,” al-Taliʿa 6 (1968): 4Google Scholar.

⁷¹ Muhammad Hasanayn Haykal, “al-Maʿna al-Haqiqi li-kul ma Takashaf baʿd al-Naksa,” al-Ahram, 8 November 1968.

⁷² Samir Farid, “67–76 . . . Malamih Asasiyya,” Jamʿiyyat al-Film 23, 17 June 1976, 12.

⁷³ “Sheikh Imam: A Profile from the Archives,” Jadaliyya, 22 July 2014, http://www.jadaliyya.com/Details/30860/Sheikh-Imam-A-Profile-from-the-Archives.

⁷⁴ Sharaf al-Din, al-Siyasa wa-l-Sinima fi Misr, ch. 3.

⁷⁵ Sharaf al-Din does not mention al-Ikhtiyar in her study of “green light cinema.” I speculate that this is because Chahine, as far as we know, did not encounter any issues with censorship when filming or screening al-Ikhtiyar, unlike the other films she discusses. To read more about the intersection of politics and films produced during this period, see Gordon, Revolutionary Melodrama, ch. 6; and Sharaf al-Din, al-Siyasa wa-l-Sinima fi Misr.

⁷⁶ Gordon, Revolutionary Melodrama, 211.

⁷⁷ ECCC, al-Ikhtiyar, file no. 1450.

⁷⁸ Chahine, al-Ikhtiyar, 00:06:30.

⁷⁹ Fawal, Youssef Chahine, 93.

⁸⁰ In his article “How State Intellectuals Responded to 1967: Silence, Propaganda, and Conspiracy,” Ismail Fayed refers to this type of intellectuals as “state intellectuals”; Mada, accessed on 13 May 2019, https://madamasr.com/en/2017/06/05/feature/culture/how-state-intellectuals-responded-to-1967-silence-propaganda-and-conspiracy.

⁸¹ Yusuf Sharif Rizk Allah, “Kayfa Ikhtar Youssef Chahine Hadha al-Ikhtiyar?” Ruz al-Yusuf 2235, 1 May 1971, 45.

⁸² ʿIssa, Salah, Muthaqafun wa-ʿAskar (Cairo: Maktabat Madbuli, 1986), 504Google Scholar.

⁸³ Chahine, al-Ikhtiyar, 00:42:15.

⁸⁴ Ibid., 00:41:36.

⁸⁵ Wannous, as cited in Kassab, Contemporary Arab Thought: Cultural Critique, 90–91.

⁸⁶ Peroncel-Hugoz, “Une Interview,” 211.

⁸⁷ Frantz Gévaudan, “Le Moineau,” Cinéma 193 (1974): 111.

⁸⁸ Muhamad Hasanayn Haykal, “5 Sanawat wa 5 Yunyu,” al-Ahram, 2 June 1972.

⁸⁹ The original opening message is in French, but a translated version is available in Khouri, Arab National Project, 100.

⁹⁰ Cuny, “Entretien avec Youssef Chahine,” 96.

⁹¹ Chahine, al-ʿUsfur, 00:19:36. Another scene finds Shaykh Ahmad and Raʾuf reaching the area where the factory should have been built six years before only to find a deserted place, unfinished warehouses, and torn banners full of promises (00:47:08).

⁹² Ibid., 01:29:46; al-ʿUmari, Amir, “al-ʿUsfur: Muhawalat Tahlil al-Shakhsiyat,” Cairo Cinema Club 7, no. 12 (1974): 26–30Google Scholar.

⁹³ Samak, “Politics of Egyptian Cinema,” 14.

⁹⁴ Fawal, Youssef Chahine, 93.

⁹⁵ Chahine, cited in Samak, “Politics of Egyptian Cinema,” 14.

⁹⁶ Mahmud ʿAli, Maʾat ʿAmm min al-Raqaba ʿala al-Sinima al-Misriyya (Cairo: al-Majlis al-Aʿla li-l-Thaqafa, 2008), 304.

⁹⁷ Ibid., 303.

⁹⁸ Sayf ʿAbd al-Ruhman's interview in “Kharij al-Nas: Film al-ʿUsfur . . . Harb Fanniyya Dudd al-Fasad,” al-Jazeera, 3 June 2018, https://www.youtube.com/watch?v=X81k2y80_X0. ʿAbd al-Ruhman claims that al-Sibaʿi saw some resemblance between his brother Ismaʿil, then security director of Cairo, and the character of the corrupt security officer played by Salah Mansur. See also Nasrallah, Yousry, “Faire des films à la première personne,” Cahiers du cinéma 637 (2008): 82–83Google Scholar.

⁹⁹ Armes, “Youssef Chahine,” 14.

¹⁰⁰ Raʾuf Tawfiq, “Aham Hadath Fanni fi al-Qahira: al-ʿUsfur,” Sabah al-Khayr, 12 September 1974, 54.

¹⁰¹ ʿAli, Maʾat ʿAmm min al-Raqaba, 304–5.

¹⁰² Farid, “Hiwar maʿ Youssef Chahine,” 99.

¹⁰³ Ibid., 95.

¹⁰⁴ Shmayt, Youssef Chahine, 149.

¹⁰⁵ Fargeon, “Interview: Youssef Chahine,” 49.

¹⁰⁶ The gender discourse in Chahine's films deserves a study of its own. Scholars like Viola Shafik have addressed it in their studies, exploring the representations of Egypt as a woman in some of his films, along with the connection between the defeat and the raped nation allegory. See, for example, Shafik, Popular Egyptian Cinema, 97–100.

¹⁰⁷ Even the censorship advisory committee appreciated the film for its mobilizing effect; ʿAli, Maʾat ʿAmm min al-Raqaba, 305.

¹⁰⁸ Schivelbusch, Culture of Defeat, 11. For examples of these articles, see, al-Hamid, Muhammad ʿAbd, “Malamih al-Taghyir fi Qiwatina al-Musalaha,” al-Nasr 388 (1971): 4–5Google Scholar; ʿUbayd, ʿAbd al-Hakim, “Qiwatuna al-Bahriyya: wa-Limaza Tatajanab Bahriyyat al-ʿAdu Muwajahatiha,” al-Nasr 388 (1971): 6–7Google Scholar; and Salami, Sayyid, “ʿIndama Tatahawal al-Ajsam al-Bashariyya ila Sawarikh Tahta al-Maʾ,” al-Nasr 398 (1972): 6–7Google Scholar.

¹⁰⁹ ECCC, al-ʿUsfur, file no. 1598, clippings from 5 July 1972; Chahine, al-ʿUsfur, 01:40:02.

¹¹⁰ ʿAli Badrakhan's interview in “Kharij al-Nas: Film al-ʿUsfur . . . Harb Fanniyya Dudd al-Fasad,” al-Jazeera, 3 June 2018, https://www.youtube.com/watch?v=X81k2y80_X0.

¹¹¹ Abu-Rabiʿ, Contemporary Arab Thought: Studies, 59.

¹¹² ECCC, al-ʿUsfur, file no. 1598, Samir Farid, “al-ʿUsfur Intissar al-Film al-Misri fi Nusf Shahr al-Mukhrijin,” 12 June 1973.