Falseization or Arabization
In the context, journalist and critic Sherif El-Sayed stated that “quoting foreign works is a feature that has existed since the dawn of the Arab art industry and does not have any crisis, but before it was common for there to be a process of change in the foreign text in the sense of (Egyptization or Arabization).
By deleting phrases, adding phrases, or modifying characters so that the borrowed text fits with the Arab milieu and the nature of the Egyptian and Arab environment, and at the same time it has something alive in contact with the Arab nature, and this happened in many works,
Perhaps because of the intensity of its success, we forget that it is adapted from foreign works, and we even forget the foreign work in the first place, such as the movie Shams Al-Zanati by Adel Imam, which belongs to American origin, and it is the movie The Magnificent Seven or The Seven Greats. And he added, “But in the companions of the dearest, things differed, as the literal transfer took place almost, and here the standards were reversed, because the work presented us with another culture and re-quoted and produced the other culture, and perhaps this is what caused the crisis,
I don’t know why the transliteration even for the dialogue but it could have been quoted with a bit of acting to put any important touch different and in the same context. In general, quoting, if done professionally, does not mean bankruptcy, but rather openness to other cultures, and this is an important part of art as well.
However, in the aforementioned film, nothing pertains to the Arab community, even when reference was made to Iraq. No sentence pertaining to the country was defined, rather it passed unnoticed, and the literal quotation may be good at times and at other times not.
This is according to the quoted topic, the purpose of the quote, and the viewer’s ability to absorb the material, content, and ideas that the work carries in general and does not link it to its reality, society, and traditions.
