Amir Taha is a postdoctoral fellow at Centre for Indian Studies in Africa (CISA), University of the Witwatersrand, South Africa. He holds a PhD in English Literatures and Cultures from the University of Tübingen, Germany, and is a member of the DAAD’s The Literary Cultures of the Global South network. He has taught various courses on Cultural and Film Studies at both the University of Tübingen and the University of the Witwatersrand. He is also co-editor of the upcoming volume, Cinemas of the Global South: Towards Southern Aesthetics (2022).

• 1. Introduction.- 2. Counterculture as War Machine: Egypt 2011.- 3. Film and Politics in Egypt.- 4. Countercultural Films.-  5. Conclusion.-

Amir Taha is a postdoctoral fellow at Centre for Indian Studies in Africa (CISA), University of the Witwatersrand, South Africa. He holds a PhD in English Literatures and Cultures from the University of Tübingen, Germany, and is a member of the DAAD’s The Literary Cultures of the Global South network. He has taught various courses on Cultural and Film Studies at both the University of Tübingen and the University of the Witwatersrand. He is also co-editor of the upcoming volume, Cinemas of the Global South: Towards Southern Aesthetics (2022).

• 1. Introduction.- 2. Counterculture as War Machine: Egypt 2011.- 3. Film and Politics in Egypt.- 4. Countercultural Films.-  5. Conclusion.-

Amir Taha is a postdoctoral fellow at Centre for Indian Studies in Africa (CISA), University of the Witwatersrand, South Africa. He holds a PhD in English Literatures and Cultures from the University of Tübingen, Germany, and is a member of the DAAD’s The Literary Cultures of the Global South network. He has taught various courses on Cultural and Film Studies at both the University of Tübingen and the University of the Witwatersrand. He is also co-editor of the upcoming volume, Cinemas of the Global South: Towards Southern Aesthetics (2022).

• 1. Introduction.- 2. Counterculture as War Machine: Egypt 2011.- 3. Film and Politics in Egypt.- 4. Countercultural Films.-  5. Conclusion.-