Only for "idiots" ...
and sometimes "adults"
This stage began after the “Justice and Development” took power in (2003 AD), whereby the focus was on the Turkish dramatic revolution and broadcasting it outside its Turkish borders, specifically in the Arab world, when its access was facilitated by the supported dubbing, and presented to the most famous Arab satellite channels. During this phase, the visual media in the Arab world did not notice that it was establishing a deep link between the Arab viewer and Turkish drama, and promoted this culture with its plot and high production capabilities which was taking a high budget from the expenses of the ruling party.
However, the dramatic goals were not clear at its start; it focused on plot, displaying artistic capabilities, and highlighting the Turkish stars to be heroes in Arab taste. Therefore, its goal had a wide and extended resonance among some Arab societies, until it was reflected on the visits of these stars to some Arab capitals, to work, simulate and support it. Then, celebrations were held for them, the fans attended and millions were paid, especially in the most admiring capitals of Turkish dramas and projects.
In addition, to emphasize the achievement of the dramatic impact in Arab societies, companies specializing in dubbing Turkish dramas into Arabic were established, which created a wide and diversified spread on Arab satellite channels. Despite the reaction of focusing on the emotional content and its repercussions on societies, their dramas became more popular.
They started with the lie of “Ertugrul" and followed by "Othman".
Therefore, the series was increasingly popular and influenced greatly in the Arab world, backed by the political wing of the movement in the Arab world in support of the Turkish Brotherhood policy represented. Moreover, the close follow-up made by Turkish President Erdogan who boasts of attending the filming locations of the series.
In order for the series to become acceptable, with its polytheism, Sufi manifestations and shamanic rituals; the voices of the radical Islamists, who belong to the terrorist Muslim Brotherhood, were recruited, and they became part of the series’ marketing process, as it achieved many of their goals in disrupting Arab politics and empowering Turkish penetration.
Abdul Hamid II: No one succeeded.
“Kingdoms of Fire” Author Writes for “WHITE INK”:
"Arabs" must give way to the makers of historical dramas
On the other hand, we created one series to confront the Turkish intellectual and cultural invasion over our children’s minds. Is this enough?!
We did not benefit anything by negative resistance, because the Turkish series has many followers and displayed on other display platforms and screens indicating that it is a good product to have the ability to compete internationally. The makers of Turkish series have made the utmost effort with sincerity and dedication.
On art or industry, the Egyptian proverb says: “Let an expert handle the job even if it will cost you much”. We have been giving the opportunity to the unqualified persons to undertake a difficult and complex task, such as drama making. The manufacturer differs from the merchant and the manufacturer cannot do without the merchant and vice versa, but each of them has its own field. When a manufacturer works in trade, he cannot sell his product or mostly will fail miserably in buying and selling. The cow is not able to sell its milk, it’s obvious.
Our resistance against Turkish drama is still negative and one action is not enough to face its systematic invasion.
But when the merchant works in the industry (with the merchant’s vision only), then it is so alarming Here, cleverness comes at the account of proficiency, and numbers (quantity) replace (quality), and the bright and shiny form becomes more important than the deep strong content.
The pests of the drama industry still inhabit the roots of our business as a chronic mold, the star is the most important thing, the one who is bought by the channel and he is the one that advertisements come in his name, and then space is opened for the star to intervene and take control, and all work team becomes cogs in a machine making his name and stardom, his dreams are orders and his requests are answered, The sale has taken a place as soon as he signed the contract, in a manner that the producer takes it with him to publish it on the social media, as for making the series itself, it is indisputable. How can we make a drama that competes on a global or even regional level – in the light of this inverted cart system?!
We do not lack cadres for writing, acting, directing, decorating, filming, music, etc. we lack the system of rules, and whenever we talk, we have angered industrialists (or trade, to be more precise) who have been accustomed to working and reaping profits in this way, indifferent to the final result that will be a great depression, certainly the wheel of dramatic production will stop sooner or later.
By all accounts, any unprofitable trade is a failed trade, and no one is claiming the workers in this sector to lose. Art is a controversial issue which its subject is not making a profitable drama, except in the margins. It may tolerate adventure if the system is profitable originally. Under profit and loss from a purely economic perspective (business), we see today that Turkish drama has returned to occupy our screens, after Arabizing it using Arab actors and cadres, not just dubbing it, as it used to happen in the past. We see the Turkish series occupying Arab platforms that follow the new ones and their viewing rates in Turkey, their rise and fall and admitted by the viewers in our Arab region greatly.
As if we had not done anything, the global market will remain subject to the law of supply and demand, and the famous global platforms displaying original works made in Turkey raise a lot of concerns and questions regarding our damaged industrial mechanisms. The business at the beginning and at the end is the guaranteed means for intellectual, cultural, and political conquest.
We have said it over and over and here we are repeating it, making one single historical series is not enough to face the torrent of similar Turkish works, and the Arab region must rise and give the makers the opportunity to re-read history for viewers of all ages and categories, only if we aspire to compete, and construct national security and cultural lines around our societies in front of the continuous dramatic invasion, so that we may survive.
The Chronological Disparity Between
Two Stereotypes of the Ottoman History
Arab Drama Was
by the Presence of
Recently, Turkish drama has been in intense conflict with Arab drama over a limited period of time. Where Turkish drama became active in the post 2000s period by invading Arab television with its dubbed masterpieces, which created a stereotype that is consistent with the political approach. Contrarily, the Arab-Egyptian drama began to show the true stereotype of Turkish Ottomans through a dramatic set of works. However, since the Arab actions were almost decades earlier, that made them out of the mind of Arab audience in light of the presence of Turkish drama.
The Egyptian art critic, Rami El-Metwally, says about that: “With the beginning of the age of satellite televisions and the openness to different cultures, the preferences of viewers and audience of television drama have changed; from Mexican drama to Spanish drama , then Turkish and Indian dramas, yet the greatest impact was by the dubbed Turkish drama into Arabic, which has been very widespread and Popular at the beginning as a romantic social drama and then by its historical and political series; the most notably one was “Valley of the Wolves” with its several series, which glorified the Turkish security and intelligence services, as well as the heads of organized crime who are the major powers in the Turkish sphere”; furthermore, he asserts that the Turkish drama has become a propaganda trumpet for current Turkish President, Erdogan, and his ambitions to the resources of the Arab region, and emulating his dreams of the return of the Turkish, so called, Islamic caliphate.
The Egyptian critic Rami El-Metwally: “The Kingdoms of Fire" exposed Ottoman massacres against Arabs.
Moreover, Al-Metwally argues that Turkish dramas and series have become an essential arm for the Turkish regime that seeks to glorify the early founders of the Ottoman State, whether Ertgerl or Salim I, and it gave them legendary traits, as well as was the same with the last of the Ottoman sultans, Abd al-Hamid II. Also, he states that “All of these series present them on the screen as some angels and human beings that possess human qualities, administer justice and they were not abuse, yet defend themselves; in contrast, these matters were irrelevant to the reality. In the end, they were occupation forces; thus, the title of Caliph of the Muslims and Prince of the Faithful was just a usurped title that held by the ripper Salim I after his occupation to Egypt; and the abdication of the title by the Abbasid Caliph, who was living in Egypt for a fictitious position”.
On the other hand, Arab drama was dealing with what is Ottoman and Turkish with a lot of contempt. Where the Turkish and Ottoman characters in the Arab series were mostly negative characters with cruel, violent and unjust behavior. Therefore, the critic, Rami El-Metwally, points out that “that character was usually portrayed as a rough person that walking and holding a whip, speaking a broken language and pronouncing Arabic in a funny way; as the Turk image in the Arab drama is a stereotype that shows evil and injustice; so the Turkish title Pasha became notorious and an indicative of corruption”.
The drama works that were time-barred have paved the way for "Turkish” drama to establish its image in the Arab mind.
Further, El-Metwally traced the stereotype of Turks in the Egyptian drama: “The 1990s period witnessed television dramas that clearly portrayed the Ottoman State as an occupier, and that was the cause of the demolition of Cairo as an instance through murder, torture and theft of its human resources and manpower. In addition to the “Arabesque” series (in 1994 AD) as in its first episode presented the Arabesque artist Hassan Al-Nu`mani, the grandfather, who made for the Ottoman Sultan his throne as a masterpiece. “Hassan” was one of the skilled craftsmen who were taken by the forces of the Othman family to the capital, Astana, to work there as craftsmen, while Cairo was remained without its skilled workers and the elders of its craftsmen, as this is a clear condemnation to the Ottoman occupier by the screenwriter, Osama Anwar Okasha, in (1995 AD), “Al-Zaini Barakat” series was presented, and it addressed the period before the Ottoman occupation. The screenwriter, “Muhammad al-Sayed Eid”, showed, through Gamal Al-Ghitani’s novel of the same title, the treachery that led the Ottomans to occupy Egypt. Sultan Tuman Bey (Riyadh Al-Khouly) presented as a national hero who led the army to resist the occupation; however, the betrayal of many persons, including “al Zaini Barakat” (Ahmed Badir), paved the way for the Ottomans to enter Egypt on the account of the resistance”.
In conclusion, Rami said that: “However, the most significant series that exposed the Ottomans, their massacres and their dirty works in the region and Egypt was by “The Kingdoms of Fire” series that was presented in the year of (2019 AD). That series highlighted the bloody and occupation of Salim I, his lies and attempts to present his occupation to Egypt and the Levant as an Islamic conquest. As the series addressed a parallel presentation of the rise of Salim and Toman Bey to power, their paths to the throne, and their personal characters based on a lot of historical sources. Therefore, it presented clearly what the Ottoman State did, through the series, and what it did to destroy Egypt and caused to bring it to the ages of ignorance and underdevelopment. It used the sword against everyone, imposed taxes and jizya and did not care for any development due to a weakness that appeared as a power of its rulers; as they were concerned of conspiracies, on the account of their care for the countries that they occupied”.