Dukesherer 1

Bianca Dukesherer

Professor Fraser

Politics & Economics of Global Media

April 10, 2021

Egyptian Cultural Power: An Analysis of Egyptian Mythology &

ABSTRACT

This paper will examine Egypt’s cultural power. Two specific roles will be analyzed: 1) Egypt’s
cultural legacies, mythology artefacts and landmarks that have branded the country
internationally and 2) the Egyptian film industry in the 20th century in comparison to what was
known as the “golden age of Egyptian cinema” in the 40s-60s. The paper will argue that these
cultural resources have left an opportunity for Egypt to improve on soft power influence despite
their decline in cultural power. The decline happened for two reasons: first, other countries in the
region, such as Saudi Arabia, have become an important power in film; and second, Egypt’s
turbulent politics since the Arab Spring have damaged the country’s reputation. The independent
cinema industry, streaming networks like Netflix, as well as Egypt’s recent historical updates on
artefacts have allowed for a new potential growth in soft power for a post-Covid 19 era.
Therefore, Egypt still has power at its depth, which is due to its historic and cultural identity
(Little, et al.).

Keywords: cultural power, soft power, Arab Spring, Egyptian cinema, mythology, artefacts,
history, politics, Turkey, resources

INTRODUCTION

Located in the Northeastern corner of Africa, Egypt is often known for its landmarks and

incredible history, dating back to approximately 7000 B.C.E (Little, et al.). The pyramids,

sphinx, and various mummy tombs often drawing global attention. Movies in popular western
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culture such as the Mummy or Cleopatra often portray Egypt in a certain mystique1. What is the

root of this influence historically? How are themes still prevalent today? The historic Egyptian

mythology and religious influences collaborate with other regions throughout time. Specifically,

creating strong ties with Greece in historical parallels when it comes to storytelling and

mythology leading to similar forms of artwork and written works as well. Greece officially

occupied Egypt in 332 B.C.E, with Alexander the Great’s conquest and was then ruled over for

three centuries by the dynasty known as the Ptolemies (McCoskey 14). The Ptolemies ruled over

Egypt until they were forced out by the Roman Empire following the death of Cleopatra VII

(14). Even before this period of Grecian conquest, the Greek-Egyptian relationship was close in

ties. The Greeks historically were very impressed with Egyptian history and civilization

(Hanrahan 33). The influence led to Egyptian ideologies appearing throughout Grecian art,

mythology, storytelling, 2 etc. “When Egypt was still closed to Greece, much of this influence

was transmitted by the Phoenicians who controlled all trade with the Delta (34). Once it was

open to other countries, Greek travelers would go to Egypt to study history, religion and

government. Egypt’s historic monuments, religion and mythology offered a unique opening to

the world of soft power. This also came with consequences however, of unsteady rulership and

chaotic imbalance. Egypt was often conquered by other regions, and this slowly had an effect

throughout history on how their soft power was viewed. When hard power, and military support

was often needed to essentially hold onto their country and preserve Egypt’s history (BBC).

1
The Mummy – 1999 American film written and directed by Stephen Sommers, re-make of the 1932 film
by Karl Freund set to be a horror take on mummies. The original film was inspired by the opening of
Tutankhamun’s tomb in 1922 (Pfeiffer).
2
J.D.S Pendlebury has catalogued Egyptian material found in Greece, evidence proves statues in Greece
were also inspired by architecture from Egypt. See Hicks, Ruth Ilsley. “Egyptian Elements in Greek
Mythology.” Transactions and Proceedings of the American Philological Association, vol. 93, 1962, pp. 90–
108. JSTOR, www.jstor.org/stable/283753.
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Egypt’s goal was often to improve soft power influence on the Middle East. This was

done historically through entities like the Amarna tablets3 (approx. 1887), diplomatic letters and

messages were passed from pharaohs to kings in areas such as Syria and Babylonia (Little, et

al.). In these conversations through trade, diplomacy and word of mouth, the initial soft power of

Egypt started out very strong. Only improving from other methods such as religious influence,

film, architecture, and artwork (Hanrahan, 38). Although it isn’t the same soft power today, there

are themes of influence that are embedded in other cultures around the world which essentially

effect how the global community still sees Egypt as a whole. Two case studies will be assessed

in support of this. First, the recent uprise in independent films and Netflix’s support. Second, the

recent historical finds highlighting once again their overall tourism which is steadily set to

increase (BBC). Their cultural power continues to be an underlying strength despite the turmoil

Egypt has been through in a post-Arab Spring era. Thus, leaving Egypt with an opening for

improvement that could potentially change the narrative for the future.

LITERATURE REVIEW

Mythology & Artefacts

It is no secret that the early Egyptian artefacts and mythological figures had an immense

impact on the world. One example stems from the early Egypt-Greek trade relationship.

Egyptian art and mythology were transmitted through the Phoenicians by word of mouth and

trade via Delta. Students and teachers would also come to Egypt and learn from cultural practices

to bring knowledge back to the Mediterranean region (Hanrahan 34). Matthew Hanrahan in The

Relations between Greece and Egypt during the VIIth and VIIIth Centuries, states that
3
Amarna tablets or letters – group of several hundred clay tablets inscribed in writing from the 14 th
century B.C. Found in Tell el-Amarna, the once capital of ancient Egypt (during the ruling of Amenhotep
IV). Knott, Elizabeth. The Amarna Letters (2016) The Metropolitan Museum of Art.
https://www.metmuseum.org/toah/hd/amlet/hd_amlet.html
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Herodotus, the early Greek philosopher4, often wrote of this influence. “Many of his

[Herodotus’] descriptions, for example, of the ibis, the circumcisions of children, the rites of

embalming and the methods of Pyramid building, have been described as “gems of veracity” by

even the most severe of his modern critics” (41). These examples are just one case of how

Egypt’s cultural power influenced the world. This review had certain gaps in its supportive

analysis however, that lead to further questions. One example is whether the Egyptian Pharaohs

were considered the standard of wealth during this time. Hanrahan addresses the awe many

philosophers and travelers felt on historical and cultural landmarks (typically the pyramids) in

Egypt as well as the wealth of the pharaohs, many told stories of this throughout Greece and this

ultimately led to a popular culture around this extravagance (34). Paul Stanwick backs this as

entirely the case, even in how other leaders would depict themselves in portraits. Pharaohs were

the standard of wealth, providing the global sphere with something to aspire to. Taking Egyptian

elements into their imagery from the royal regalia to the specific statues they would have painted

in the image with them. Typically promoting Egyptian architecture and mythological tales in the

hieroglyphics embedded (Stanwick 5). Donald Reid also mentions the landmarks and cultural

architecture replications, for example, “Cleopatras needle” containing engravings and

hieroglyphics is essentially copied in Pompey’s pillars in Alexandria (30).

Fast forwarding to World War I and the European advancements made in archeological

digs throughout Egypt, Reid (2) takes into account that archeology starts to have a very large

effect on tourism. The article states, however, that “archeology and imperialism go hand in

hand” and that Egyptians learn most of what to do with their artefacts from the Western
4
Herodotus – had the advantage of arriving to Egypt already having known about Egyptian literature
since the Greeks had been trading for some 200 years with them by the time he arrived. Brown,
Truesdell S., Herodotus Speculates about Egypt. The Johns Hopkins University Press. 1965.
https://www.jstor.org/stable/pdf/292621.pdf
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imperialists. There are gaps in this ideology however, in the research that suggests Egypt already

knew what it was doing long before with its historical sites and depictions. Also, in the first

initial step of spreading their cultural historicism into Europe, meaning they had control over the

spread of their history from the start. Maintaining their ideology despite the constant conquests

of their nation. Europe was inspired in the 20th century so much so they even made monuments to

support “Western Egyptology.” Egyptian architecture, archeology, anthropology, etc. became

fields of study. Reid also states however, that “in the 20 th century, national pride was emphasized

by pharaohs and Egyptian Egyptology” (6). While this is mainly due to European

acknowledgment, there is historic proof to allude otherwise. Going back to Hanrahan, who

reviews the Egyptian influence on the world around them. Their national pride was already

embedded in the spreading of their ideology in the nations around them (Hanrahan 34).

Egyptian mythology often had certain religious practices involved as well, and “Egypt’s

religious opinions were often copied by neighboring nations, particularly by the Greeks and

Romans” (Sharpe 8). Samuel Sharpe in Egyptian Mythology & Egyptian Christianity, with Their

Influence on the Opinions of Modern Christendom, emphasizes Egypt’s early mythological

inventiveness. Sharpe states a major factor that was adopted into Christian practices is the idea

that there is fear underlying these “deep-rooted beliefs, of doing wrong,” so it causes people to

fall into a sense of order. “Those who believe more are thus wiser and apt to think themselves on

safer ground” states Sharpe (8). Second, there is the factor of death involved and the afterlife that

Egyptians are well known for. Everything from the ceremonial process of funerals and paying

respects to the dead, to the penance and sacrifices made to have sins forgiven (9). There is a

small gap in also acknowledging a major similarity between those in power having some sort of

different hierarchical process, even in death. In Egypt’s case, the pharaohs had special
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ceremonies, parts of them were placed in jars to bring with them into the afterlife (Mark) In

Christianity, there are similarities in royal adornments placed on those in power within the

church as well as the notion that the funeral isn’t necessarily a final goodbye in either case. They

are both going to some form of an afterlife (Mark). Sharpe beautifully brings up common factors

within the two however and places these similarities into the same cultural sphere with dates to

support that Egypt had shown signs of these practices from early on, and ideas were then spread

to Rome and Greece more so than other areas (11). This is the knowledge and cultural significance

that exudes global soft power.

Egyptian Cinema

Qussai Samak, in The Politics of Egyptian Cinema, brings to light the deep-rooted

societal issues within the cinema industry. Egypt built its production industry in 1917 and at the

time, much like other areas of the world, it was available solely to the bourgeoise (Samak 12).

Isolating the working class and farmers who didn’t have the opportunity for such high ambitions

(12). Despite these inner societal issues however, Egypt had been able to make a name for itself

in the film industry throughout Europe and the Middle East. The 40s, 50s and 60s were a time

known as the “golden age of Egyptian cinema.” The 50s were at the height of its global

phenomenon, making it the third largest cinema industry in the world (13). While Samak fails to

acknowledge the global political sphere entirely in his research, there is the highlighted

importance of realism in Egyptian cinema that he does bring up. “[Egyptian] film addressed the

challenges facing a young Egyptian who rebels against the traditional” (12). An important factor

to bring up since Egyptian film actively moves toward this again over time (Mansour 10). Samak

leaves gaps however, in the political ties open to opportunity from the rise of Egyptian film.

France, for example was another dominant figure in film at the time and started showing
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Egyptian films during the golden age (Shafik 285). The industry gradually was influenced by

Egypt as well with the “arrival of new cinematic techniques such as scenes shot on location and

sound effects” (256). If someone in France wanted to make a movie that took place in a desert,

they could now reach out to the Egyptian industry and work out a deal to film it on-location.

Viola Shafik, in Popular Egyptian Cinema, also addresses the important factor of Egypt

being the “land of opportunity” for those across the Arab world who wanted to become movie

stars or make a name for themselves in the industry. In working here, many also picked up

cultural ideas and local dialects. Some even became citizens through this (5). Strengthening ties

with the global market as well as maintaining a pioneering role in its own region, making soft

power one of its strongest assets at the time (6).

Dina Mansour brings up a variety of issues stemming from Egyptian cinema including

film censorship in the Arab region. One example is having European colonizing tendencies

within the industry (Mansour 10) through a patriarchal hand governing everything that is

approved (11). This occurs mainly after the golden age. What this fails to acknowledge however,

is the influence that came from these circumstances and the power of Egypt’s culture despite

other nations rising above them. Despite the chaotic political turbulence, Egyptian cinema

throughout time has stuck to defying the norm of capitalism within the film industry and

continuously shows more personal issue stories after the golden age era (Samak 12). This is how

they have been able to win numerous awards in France, the US and others, maintaining its

cinematic role in the industry. In his article The Movie Business in Egypt, Guy Brown5 confirms

that the “Egyptian film industry remains the biggest in the Arab world” (Mansour 12). In an

interview with Inas Al Degheidy, a prominent Egyptian film director, she indicated that “there is

5
Mansour-Ille, Dina. (2012). Egyptian Film Censorship: Safeguarding Society, Upholding Taboos.
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no comparison between Egypt and other Arab countries in terms of the volume of production”

says Degheidy, “Only two or three films a year come from Tunisia, Morocco, and Syria. These

films are most likely co-productions with Belgium, or France. This doesn’t really count as an

industry” (12). Statistics from the “World Film Market Trends of 2009” show Egypt to be

producing 35 films per year (13). Of course, the issue with this is quality vs. quantity and

whether the population is still watching Egyptian films in the global market.

Omar Kholeif, however, has described the role of Egyptian film in relation to Arab

culture in the region acting as a unifying tie for Arab cultures. Egyptian cinema representing

“one of the most socially and ethnically diverse cultural regions in the world, in a matter that is

divergent from the mainstream cinematic representation” (Kholeif). This is the perfect

description of how Egyptian cinema has moved away from the “typical” capitalistic, mass media

movie market to a more revolutionary, meaningful depiction of what matters most to them as a

nation. Realism (Mansour 8).

How the world depicted Egypt in cinema based on this cultural soft power is an important

factor to consider as well. Mansour brings up how often the cultural power is portrayed through

the films involving Egypt in some way (Mansour 9). Egypt is often viewed in a “mystical

atmosphere” of sorts. One example of this is the story of Atlantis starting from ancient Egyptian

mythology, which was spread through storytelling during the trade relationship with Greece.

This was depicted in many films along with stories involving pharaohs, the mummies, as well as

prominent figures in Egyptian civilization like Cleopatra (10). What these articles also fail to

mention is the Egyptian standards of beauty were often depicted in these films (Sooke). The film

industry was a way to spread how women looked in Egypt, from the style of their clothing to the

make up used. Eyeliner to accentuate and overline their eyes, hair symbolizing wealth and beauty
 Dukesherer 9

status, gold being used on the skin to accentuate their bodies and skin color, as well as scented

oils to create a glowing look that made women in particular almost goddess-like. The

iconography of figures like Cleopatra are crucial to the understanding of Egypt’s global

influence. Wendy Cheshire reviews this in her own study of the history behind this depiction of

iconic figures like Cleopatra. Statues and forms of art would show her with high cheekbones,

royal adornments in her hair and typically a sensual overall portrayal (Sooke).

Areas of further analysis in research would be in acknowledging what cultural practices

exist today due to these initial roots in Egyptian society. As well as the political relationships

between other nations throughout MENA or the Middle East and whether they had any influence

as well. Research mainly focuses on the historical figures such as pharaohs and tends to highlight

colonialism and the negatives within Egyptian culture and filmography, however findings

conclude it is much more complex.

ANALYSIS

Decline in Soft Power

Egypt did in fact, however, have a massive decline in soft power and this needs to be

addressed before looking into how its culture is doing today. Two reasons ultimately led to this

decline. First, there is the set of events known as ‘Arab Spring’ that began in 2010 (BBC). This

started with a street vendor in Tunisia setting himself on fire, in protest of police corruption and

ill treatment. This struck the entire Arab region to fight against the authoritarian governments,

four of the leaders in this area collapsed (Korany and El-Mahdi 1). Egypt in particular is a

country that has dealt with authoritarianism on and off for centuries, but the massive protests and

violent events in 2011 were specifically due to frustration with the government corruption and
 Dukesherer 10

police brutality prevalent (2). The Egyptian Revolution6, as this was later known, led to further

political tensions that would span years. While the leader at the time, Mubarak, did step down,

this essentially didn’t fix the human rights issues that existed within the system (Hussein).

Thousands were put to military court, sentenced to years in prison, after being brutally beaten by

police forces (Korany and El-Mahdi 3). In 2012, Mohamed Morsi, of the Muslim Brotherhood7

gets elected but then a military coup occurs. The Brotherhood started to beat protestors and

televised their brutality to show power over the region (Hussein). After the coup, Abdel Fattah

Al-Sisi takes power in 2013 and hundreds of civilians were killed who supported the previous

president (Soliman 53). In opening up these deep-rooted issues for the world to see on the global

scale, Egypt’s soft power began to decline. But also, this massive slew of protests begs the

question – can you have any soft power whatsoever with a corrupt, unstable government in

power?

The second factor that is crucial to understand Egypt’s decline in power is other areas in

the Arab region rising when it comes to media and film. One example would be in the power

relationship of Saudi Arabia and the United Arab Emirates. Both recently have been in the top-

grossing territory of film (Vivarelli). Regarding Saudi Arabia, it can be said that this recent

growth in the film market as well as production is due to the ban being lifted on films. There’s

now more of a demand that the industry is seeking to fill (Shama). Another major power play

6
The Egyptian Revolution of 2011 – aka the January 25th Revolution occurred on National Police Day.
This was a call against police brutality, poor living standards, government corruption, etc. Hussein, Wael.
“Egypt’s Revolution: I Saw the Unimaginable Happen.” BBC News, BBC, 9 Feb. 2021,
www.bbc.com/news/world-middle-east-55887869.
7
The Muslim Brotherhood – religious and political organization that was founded in 1928 in Egypt by
Hassan al-Banna. The Brotherhood involves other regions like Sudan, Syria, Palestine, Lebanon, and
North Africa and involves thousands of members to this day. “Muslim Brotherhood.” Encyclopedia
Britannica, Encyclopedia Britannica, Inc., www.britannica.com/topic/Muslim-Brotherhood.
 Dukesherer 11

that has started growing rapidly is Turkish television. The timing of the recent production of

movies started to raise questions on whether they are trying to provoke Egypt and Saudi Arabia

specifically. Both countries have unresolved issues with Turkey regarding the Ottoman

occupation and could mean further repercussions in the long run (Shama).

Film Today in Egypt

Today, there is much to consider when looking at Egypt’s film industry and whether it is

still in a decline of soft power. First, although it isn’t the strong power it once was, it has a film

background with strong roots in the global industry and thus are able to still produce and feed

into the market (Shafik). One example of this is with the movie promo recently released for ‘El

Serb8’ which gained over 4 million views and a large amount of interaction and excitement over

the film (Kose, et al.). Second, the Egyptian movie “Lama Bentwelled9” or When We Are Born

represented the country in this years Oscars celebration. The second highest nominated film, the

Father, incorporated a high number of Egypt’s film cast as well. They are also still prevalent and

doing well in most film festivals (Egypt Today). They have moved from the mass media into a

more independent film era and what is interesting is it could be the perfect opportunistic time to

do so. Through independent film companies, they are able to break through barriers the

government set for them previously, leaving them to instead focus on the global market. They

focus on meaningful films, and comedy shows in their own region which seems to be gaining

traction. Especially because this would increase soft power from the western world, through

8
El Serb – The Swarm – a patriotic film documenting a war on black terrorism. The film highlights heroes
of the Egyptian armed forces against terrorist groups.
9
Lama Bentwelled – or When We Are Born – premiered at the El Gouna Film Festival in 2019, the
meaning behind it is “each one of us has a life path, which is then influenced by how we are raised, and
the beliefs ingrained in us.” “'Lama Benetwelled' Movie Represents Egypt in Oscars 2021.” EgyptToday,
28 Nov. 2020, www.egypttoday.com/Article/4/94735/‘Lama-Benetwelled’-movie-represents-Egypt-in-
Oscars-2021.
 Dukesherer 12

meaningful stories and insights into modern lifestyles. The western world has only depicted

ancient Egypt in the past with its portrayals, and this opens up a “new” side of the storytelling

process (Shafik). Netflix is also another supportive team member of this new growth, as it had its

first debut of Egyptian original series last year. Netflix has now said they are looking to invest

more in Arab creators, in Arab production and content, etc. Leaving a strategic opening for an

industry that has already made a name for itself, this leaves Egypt at a potential advantage

(Ebrahim and Awadalla).

Another interesting power play is with gender roles in the industry. A recent study by the

Northwestern University found that 26% of independent Arab filmmakers are women, while

only 8% of the directors of hundreds of the US’s top films were women (Jones). This also leaves

an opening for possible growth in an ever-expanding politically aware global sphere.

Historical and Culture Power

Despite the inner turmoil the country continues to have, it consistently has also had

cultural soft power. Rooted in history. This year alone, headlines like “Lost golden city found in

Egypt reveals lives of ancient pharaohs” or “In the tombs of Saqqara, new discoveries are

rewriting ancient Egypt’s history” continue to feed into the historic mysticism and allure of

Egypt (Raghavan). At the root of this would of course be the landmarks, and historic sites

containing archeological finds. One way they spread this is through global media outlets, but also

through documentaries and docu-series on sites like Hulu and Netflix.

Another way the government has worked on this power despite a global pandemic and

rooted societal issues is expanding on these historical elements. In opening up their borders to

the world early, they are put on the small list of countries others can travel to right now during
 Dukesherer 13

the Covid pandemic. Travel magazines and newspaper sections suddenly involve “Why you

should visit Egypt in 2021” (BBC). With astounding historical sites, sensational museums,

including one of the newest called the Grand Egyptian Museum (Conde Nast) that will contain

more antiquities in one space than ever before. This is a soft power move above all else in that it

plays right into their strongest hold on the global sphere: their cultural history. The mummies,

pharaohs and more. This gained incredible public attention at a time where most can only go to a

limited number of places.

CONCLUSION

Although Egypt is not the strong power it once was, due to the inner turmoil, human

rights violations, authoritarian and corrupt government, etc. There is no black and white situation

when it comes to acknowledging their cultural power. It is something so historically rooted

among the region around them as well as throughout the global sphere and this is something that

cannot be denied. Therefore, it is impossible to say it has no soft power whatsoever despite the

tensions within their country (Cheshire).

With the new Biden administration now expanding the hand over Egypt (BBC), there is

also the possibility of the government being held accountable for its actions, as well as through

the UN council. This could mean the initial spark of film and cultural power growth right now is

perhaps just the beginning. While it is prevalent now, there is much to work on regarding the

film industry and its diplomatic relationships if they do seek to expand even more than they have

been this year. Covid-19 however posed several opportunities for them to strategically work with

other countries and there is hope that this can expand further. The market is still right now for

tourism but already people are considering traveling to the historical sites to see this cultural

power for themselves (BBC).

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 Dukesherer 17

“'Lost Golden City' Found in Egypt Reveals Lives of Ancient Pharaohs.” BBC News, BBC, 5
Apr. 2021, www.bbc.com/news/world-middle-east-56686448.