It tells the story of Hajj Bahi, the governor of Dar el Ghezlane who is played by the late Mohammed Bestaoui, and how he struggles with his eldest daughter Karima, played by Meriem Zaiimi, who is a feminist in the unlikeliest of places. He, with a belt in his hand, blames her for embarrassing him in front of the villagers and Mounia tries to calm him. Karima also argues that if the women of the village showed solidarity with each other then no one can touch them. One of the women responds by saying that she should be neutral, if women are doing work at home then men are doing work outside to provide for the family. Embedded in this scene is another quality that is particularly associated with rural fathers. In this case, Karima plays on the masculine conservative mentality by using the taboo of virginity to her advantage. Anis, played by Oussama Bestaoui, is the new village doctor who represents an educated urban man who is forced to move from a big hospital in order to occupy a position as the new doctor of Dar el Ghezlane.
She also opens a box in which he kept his Tasbih beads, favorite cassettes, smoking pipe and photo album. Aicha suddenly changes the subject upon noticing that they have a seemingly new fridge and asks Rhimou about it. She closes the pot and confronts her, asking her what she is doing there. 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. Karima makes it clear that neither him, the belt nor the villagers can keep her quiet. The latter attempts to reconcile between them by saying that Karima regrets her doings but Karima says she regrets nothing.
Younes asks him if he will ever change and says that Dr. Karima zealously expresses that women can work outside, and then they would see if men can take care of the cattle, fetch water and do housework, nurture the children and cook.
The mnanz accused Mennana of spisode her son before she could see him one last time. Mounia soon realizes that her sister is merely being cynical. She told Mennana that if she could not do it for her then at least she should have done it for convenience or for the sake of guests and reputation. Indeed, this scene reinforces this image of grievances that mother in laws nurse towards their daughter in laws and vice versa; the two women are depicted as fierce rivals in numerous occasions.
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. Hajj blames Hssina, a servant, for not keeping an eye on Karima like he was told.
Karima confidently declares that they are fed up with silence and that God has given a brain to both men and women and the same blood and that they should fight the darkness that resides in the minds of men. The way he leered at her showed a clear sexual interest or otherwise deep affection. 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.
Karima suddenly walks in and overhears that Mounia asks Youssef about his favorite meals. Indeed, Rachid falls into the trap of this idealized housewife and declares that he prefers rural women to Spanish ones just because they are good housewives and excellent cooks. Anis quickly turns his back on them and apologizes claiming that he did not see anything.
This gives the impression that women, no matter how 22 Dar el Ghezlane, Episode 1 www. Karima makes it clear that neither him, the belt nor the villagers can keep her quiet.
Bnat Lalla Mennana Episode 1
Bnat La La Mnana, Episode 1 www. 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. Karima also argues that if the women of the village showed solidarity with each other then no one can touch them.
To fight this, the minister urged political parties to choose female representatives in television programs. The implication in this scene is that being a female will always attract the sexual interest eipsode co-workers and that no matter how good she is at her job —even after successfully performing a heart surgery- she is still mnzna at as a body and judged as such.
Featured in this scene is a serious perpetuation of the stereotype about women having the tendency to argue about trivial matters in the wrong time and place, in this case the funeral of their father. Karima is still wearing manly clothes and her father shouts at her saying that 27 Dar el Ghezlane, Episode 1 www.
Shortly after that, Karima comes and feigns illness, she asks Rachid to help her sit.
They are portrayed as showing one face to people and talking bad about them in their back. After confirming her identity, he tells Younes that her hair does not look natural and that she is probably wearing contact lenses.
Moments later, their sister Rhimou asked them to put an end to it and not to embarrass them in front of the neighbors. The first example that will be analyzed is Lalla Mennana which is mjana Moroccan series that was broadcasted in on 2M. The second series that will be featured in the practical part mnan Dar el Ghezlane.
Hajj Bahi stops 29 Dar el Ghezlane, Episode 1 www.
He says that he does not smell anything bad and that everything is normal and she accuses him of having a nose that does not work properly. She then starts sneering at Hajj Bahi and mocking at the fact that he gathered all these people just to welcome a doctor.
Embedded in this scene is another quality that is particularly associated with rural fathers. Again, Hajj Bahi uses the same techniques to persuade Rachid to marry Karima by praising her cooking abilities even though she did not prepare the tea at all. Once more, women are depicted as being deceitful and sycophantic.
Subsequently, the analysis chapter will contain two examples of Moroccan series that were aired on the two main Moroccan channels so as to give a more representative and objective view about how women are represented in Moroccan television. Hanae and introduces himself. Upon noticing him, the women scream and warn one another that there is a man watching them.
Bnat Lalla Mennana Episode 1 – Vidéo dailymotion
Interestingly, this scene depicts the sudden emancipation that the absence of the father figure leaves. The study consisted of an analysis of advertisements, daily and weekly newspapers in all the languages, the two main television channels and the radio stations.
Imad and Chama Episode 1, 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. Women in Moroccan Media Khalfi, an amendment in the audio-visual law that will ensure fighting all forms of sexism and discrimination against women in the media. Mounia and Karima Episode 1, He apologizes to her for being disrespectful and worrying about his shoe when she has just 19 Bnat La La Mnana, Episode 1 www.
Another interesting idea 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. After a while, a woman enters the house wearing a black jellaba and starts sobbing and moaning about how they did not wait for her to see the dead man and bid him farewell before his burial.
The theoretical part also tackled the situation of women in the national media and presented some studies that dealt with the same issue. She speaks about the inequality that they suffer from and that men are the only ones who are privileged.
Once more, the woman is depicted as a disrespectful figure that does not shy away from sneaking into the kitchen in the middle of a funeral to steal food.