There has been a long silence about what is presented of very modest drama, and if we are racing against time in all fields to reach 2030 in the fullest form, the dramatic and cinematic side are still floundering without making qualitative shifts that indicate the paving of the progress of this art in the best models that satisfy our ambition.
One of the most important wings of developed countries is their soft powers, and since the start of the launch to achieve the vision, there have been advanced strategies for all aspects of life, including support for the Saudi film, which is still trying to advance with timid steps.
Today’s talk is about the deterioration of the local drama and the degradation of what is offered. If we take the drama presented during the Ramadan season, it can be judged to be both humility and regretfulness, and in this situation it cannot create an interactive situation that produces creative works that we can rely on as artistic materials of solid quality that present us to the other as perfect art, nor It can bring us into competition with the Arab drama in the minimum limits.
What was shown in this Ramadan season of drama is consumer material. The producers sought to reap profits through advertisements, without caring about the quality of the material shown, and if the situation continues as it is, the drama will not develop, as we were in terms of dramatic humor in the past, so we We are still more ridiculous than before, and this is a sign of the deterioration of our situation in this aspect.
For many years, we have been pulling a string of dramatic humor, and if we wanted to choose any comedy, drama, social, or historical series, we would find nothing but the expansion of the comic side with all kinds of its humor and absurdity.
Yes, the school of laughter for laughter's sake can continue to be part of the whole, and not be the front for all of our dramas.
In order for drama and cinematic films to be rescued from a market that is concerned only with profitability by providing any inferior material, it becomes necessary for the state to enter as a producer. Presenting it from their literature, ideas, and orientation, and this is not a new work, as all countries of the world intervened at the beginning of the rise of these arts in their countries, and supervised the production so that they were able to present high-end models in the world of cinema or television drama, by selecting the finest works, and by doing this they raise the percentage of Artistic taste, and those involved in the production process miss out on presenting or displaying any negative work. The rule (good currency expels bad currency) is the most correct economically or technically.
I believe that the money supporting these arts is very abundant, and yet the money is still spent in vain without distinction, even if it is relative.
Abdou Khal