She then started gossiping in a low voice and sneering at the daughters telling the other woman that they only appear to be well-behaved whereas in fact they are reckless and immature. It tells the story of a widow, Mennana, who is the mother of four daughters and who struggles to keep them in control and confine them to their home. Embedded in this scene is another quality that is particularly associated with rural fathers. The theoretical part will tackle the position of women in the Moroccan media according to official reports and statements by experts in the field as well as government figures. Aicha in the Kitchen Episode 1, This series was selected to highlight the situation that women live under after the death of the father and how their mother becomes an alternative source of authority and oppression. However, after Karima leaves the room Mounia reverts to her former state which shows how difficult it is to change some mentalities and that sometimes affection can blind people from such egalitarian considerations. Log In Sign Up.
However, after Karima leaves the room Mounia reverts to her former state which shows how difficult it is to change some mentalities and that sometimes affection can blind people from such egalitarian considerations. After complimenting her on her successful last surgery he wishes that he assisted her. This is uncannily 23 Dar el Ghezlane, Episode 1 www. The theoretical part will tackle the position of women in the Moroccan media according to official reports and statements by experts in the field as well as government figures. Chama then entered the scene and ran to hug her grandmother and they sobbed together; Rhimou and Bahia soon joined them. She expressively declares that she is now speaking to the governor of the Dar el Ghezlan municipality and it is his duty to listen to what she has to say.
She wonders aloud and asks Rhimou whether it was a contraband or under warranty.
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Karima and the Women of the Village Protesting Episode 1, He complains that the water ruined his new shoe and Chama says that the shoe does not appear to be a new one at all. Karima and the Women of the Village Episode 1, In this case, Karima plays on the masculine conservative mentality by using the taboo of virginity to her advantage.
Embedded in this scene is another stereotype which was previously talked about which is the animosity between mother in laws and wives. The second series is Dar El Ghezlane who at the beginning seems like another stereotypical television show but in fact it provides the reader with a different outlook on the situation of the Moroccan women through portraying the pressure that a free thinking Moroccan women who has feminist principles lives under and how she copes with the situation in a rural area where the views on women are traditionally conservative.
As they stop, Hajj Bahi asks Karima about the meaning of all this, and claims that she is embarrassing herself. He, with a belt in his hand, blames her for embarrassing him in front of the villagers and Mounia tries to calm him. The second part of this paper consisted of an analysis of the images of women through two examples of Moroccan series.
After confirming her identity, he tells Younes that her hair does not look natural and that she is probably wearing contact lenses. During the funeral, as the guests are mourning the dead man, two of the daughters, Bahia and Chama played by Noura Skalli and Samya Akeryou, argue in menaba as the first one blamed the second for not painting the windows properly.
Karima is depicted as a character who defies the conventional values of how men and women treat each other and acts as a guardian of gender equity in her home as well as outside. Chama then entered the scene and ran to hug her grandmother and they sobbed together; Rhimou and Bahia soon joined them. The way he leered at her showed a clear sexual interest or otherwise deep affection.
This is exemplified when Sfiya sobs with her granddaughters and blames their mother in front of them for putting their father through a lot of misery. Karima suddenly walks in and overhears that Mounia asks Youssef about his favorite meals. The following morning, the maid confesses to another maid that she is saddened by the death of their employer and the he was a kind and generous man, she even wished that Mennana, her mistress, died instead of him because of her rough treatment towards them.
She closes the pot and confronts her, asking her what she is doing there. He says that he cannot wait to wed her and have her as his lawful wife. Interestingly, this scene depicts the sudden emancipation that the absence of the father figure leaves.
This reinforces the conservative attitude that rural fathers have towards their daughters and the constraints that they apply on 21 Dar el Ghezlane, Episode 1 www. Hanae and introduces himself.
She replies that it is neither an embarrassment nor a scandal, and that the only reason they think so is because men were accustomed to women being silent and obedient but now they have freewill. Bahia in the Father’s Room Episode 1, They are portrayed as showing one face to people and talking bad about them in their back. Mounia blames her sister of being mean and the latter warns her of men and claims that all they want to do is put women under their shoes. The series begins with the death of their lapa, an event to which Mennana reacted with a surprising composure and asked her daughters not to shed a single tear before the sun rises.
Once more, the woman is depicted as a disrespectful figure that does not shy menwna from sneaking into the kitchen in the middle of a funeral to steal food.
Click here to sign up. In this scene, the stereotypical conflict between the wife and her mother in law is portrayed as Sfiya, the mother in law, expresses the resentment that she harbors towards Mennana because she denied the late husband from seeing his mother in his lifetime and even after his epusode he was buried before his mother had the chance to bid him farewell properly.
Images of Women in Dar el Ghezlane 13 Bnag Other services include IPTV which is offered by Maroc Telecom and a new service, digital terrestrial television which has recently began to be spread on the national level.
Bnat Lalla Mennana Episode 1
She refuses to let him marry her by force. He asks the maid where Karima is, when the latter tells him that she is in her room he bat her to call her in order to say Hi to Rachid.
Mounia and Karima Episode 1, The first example that will be analyzed is Lalla Mennana which is a Moroccan series that was broadcasted in on 2M.
Hajj Bahi stops 29 Dar el Ghezlane, Menans 1 www. This woman, named Sfiya, turned out to be his mother, she complained to Mennana, her daughter in law, and blamed her for not allowing her son to see her neither in life nor death.
The Representation of Women in Moroccan Television | Zak Boukhriss –
The implication in this scene is that being a female will always attract the sexual interest of co-workers and that no matter how good she is at her job —even after successfully performing a heart surgery- she is still looked at as a body and judged as such.
Another interesting bant that can be elicited from this scene is the fact that Youssef associate the quality of being a woman to following traditions and obeying the father, as soon as Karima transgresses this norm he symbolically strips her from her womanhood and states that he is unsure whether she is a man or a woman because of her behavior.
She is portrayed as a character that does not shy away from expressing her opinions and demanding her rights in the public sphere even in a community where such a behavior is frowned upon.
He apologizes to her for being disrespectful and worrying about his shoe when she has just 19 Bnat La La Mnana, Episode 1 www. The first series is Bnat Lalla Mennana which lwla elected as a practical example of the traditional way in which women are depicted.
After that they all leave the villa. Karima argues that she does not want to eradicate men; she simply wants to make them understand that without women they would be 25 Dar el Ghezlane, Episode 1 www.