Historical television drama and the cultural and behavioral pattern

Abstract

 summary : The current study aimed to investigate the historical television drama and the cultural and behavioral pattern between (2010 to 2018) in Egypt and Syria, by reviewing the scenario game and intertextuality with history, writing history and television drama, television drama and choosing the historical moment, the historical act in the series, and the series The Fall of the Caliphate. 2010, the Syrian drama, history and its problems in the Syrian series, and the duality of the real, the imagined, and the behavioral in the Syrian drama. .. However, he conveyed the writer's point of view in his documentation of the case and the director's visions in the artistic approach to history, and the Egyptian series has drifted behind the productive aspects, far from the extent of its suitability for the historical material that we are dealing with. Especially in presenting the rational religious intellectual and his condition fluctuating between the mind and the heart in the Ghazali series, and that there is a point that is repeated in the Egyptian drama and it is related to the productive aspects, which is ignoring some facts or modifying them to suit the choice of actors, which led to adding some details that are far from the truth. Television as a means of communication of a public nature, and being a multi-purpose and diversified medium, therefore it imposes some censorship restrictions, so some historical facts have been modified and ignored, the presence of some historical details in the television series' treatment of the historical incident despite the adoption of the intellectual panels associated with the documentary text and what it carries from one point of view A view that puts responsibility within the framework of its historical dimensions and its impact on political, social and economic events. Therefore, these dimensions loaded with an intellectual point of view came in a context other than the context of the dramatic artistic treatment of the Egyptian and Syrian series together. Logical, based on the hypothesis of a dramatic witness??? With the details of the historical act, and that the overall general view indicates that the historical television series, whether through the characters, or by observing their human lives, their development in time, and their movement spatially, in a way that clarified the extent to which censorship restrictions and production conditions could affect the artistic treatment of the documented historical incident, Including what can sometimes afflict the artwork with logical contradiction in some aspects of its main and sub-plot, and that is the scourge of television historical treatments. Some works also missed an important dramatic game, which is creating opposites for the hero, one human and the other intellectual, leaving the distance of dramatic play between them, and playing the Syrian series on Disrupting the stable in the Arab mind towards an ancient formulation of modern conflicts by re-proposing carefully and flexibly, even if the sledgehammer was clearly silent.