Not only is her competency as a doctor is overlooked, she is harassed at the work place by a colleague of her and the interesting thing is that she is shown as being impressed by that and even enjoying it. 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. 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 death he was buried before his mother had the chance to bid him farewell properly. After a few moments, they arrive at the well where the women gather to fetch water. Contrary to the first scenes, this one does perpetuate stereotypes; on the contrary, it challenges them. Hajj Bahi pours tea for Rachid and claims that it has been made by Karima.
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. Ismail and Amina Episode 1, Log In Sign Up. 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. 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. 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. 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. Not only is her competency as a doctor is overlooked, she is harassed at the work place by a colleague of her and the interesting thing is that she is shown as being impressed by that and even enjoying it.
Interestingly, this scene depicts the sudden emancipation that the absence of the father figure leaves. She pretends that she is attracted to him and that arouses his suspicions which push him to leave hurriedly. He says that he cannot wait to wed her and mnna her as his lawful wife.
Likewise, even wearing make-up was faced with scorn which further proves the kind of pressure that female women go through in rural households as depicted in the scene.
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 also argues that if the women of the village showed solidarity with each other then no one can touch them.
She explains that she is pregnant. 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 whispers as the first one blamed the second for not painting the windows properly.
Karima and the Women of the Village Episode 1, Anis Episode 1, They are portrayed as showing one face to people and talking bad about them in their back. After a few moments, they arrive at the well where the women gather to fetch water.
Bnat Lalla Mennana- épisodes 28 & 29 part 1-2
Conclusion The aim of this paper was to investigate the representation of women in the Moroccan. Moving on from to a more recent time, the political scene has witnessed many efforts as far as empowering the image of women in the media is concerned. 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.
Mounia quickly gets angry with him for talking about her sister that way. The latter attempts to reconcile between them by saying that Karima regrets her doings but Karima says she regrets nothing. One of the women, Amina who is played by Noura Skalli, complains to her husband about the unpleasant smell there and sarcastically wonders if there was no water or soap around for people to smell that bad. The Representation of Women in Moroccan Television. Mennana, Sfiya and Chama Episode 1, Images of Women in Bnat Lalla Mennana Images of Women in Dar el Ghezlane 13 Conclusion After Younes left, Anis walks to Dr.
Karima confidently declares that they are fed up with silence and that God has given a lallla to both men and women and the same blood and that they should fight the darkness that resides in the bnwt of men.
Women in Moroccan Media First and foremost, it is of vital importance to shed some light on the the audiovisual situation in Morocco. The way he leered at her showed a clear sexual interest or otherwise deep affection.
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. This perpetuates the idea that even if a woman has reached the peak of her career and is financially independent and highly educated she is still susceptible to the tricks played by men.
She then started bant tell Rhimou how much she is fond of her out of all her sisters. Karima makes it clear that neither him, the belt nor the villagers can keep her quiet.
The first series is Bnat Lalla Mennana which was elected as a practical example of the traditional way in which women are depicted. Karima argues that lallz does not want to eradicate men; she simply wants to make them understand that without women they would episodw 25 Dar el Ghezlane, Episode 1 www.
He apologizes to her for being disrespectful and worrying about his shoe when she has just 19 Bnat La La Mnana, Episode 1 www. 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. 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.
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.
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They, then, resume their slogans and leave the ceremony. 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. She offered the daughters her condolences as she sat next to one of the guests. Aicha suddenly changes the subject upon noticing that they have a laloa new fridge and asks Rhimou about it.
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Hanae is a nice person and a competent heart surgeon. One stereotype that is strongly reinforced in this scene is that of women being always curious in their quest to discover hidden things and unveil family secrets even episoee it has only been a day since the death of the owner of those objects, namely the father. This gives the impression that women, no matter how 22 Dar el Ghezlane, Episode 1 www. Mounia and Karima Episode 1, As soon as she opened the letter she discovered what seemed to be a will but someone called her before she could read it.
Morocco owns 9 free channels, seven of which are owned by the government, one that is privately owned Medi1 TV and one that has mixed ownership 2M 1. Skip to lalla content. Youssef sarcastically says that Karima is not like other women.
She is represented as being shameless in her denial of her mistakes and trying to win the favor of other women by engaging in 16 Bnat La La Mnana, Episode 1 www.
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