埃及与中国曾实施过不少经济政策， 在七十年代末期相继宣布实行经济开放。经济开放政策的实施，使这一时期两个国家的经济和社会生活经历了无数事件和变化。如果说经济开放是一项经济政策，那么这项经济政策的实施，使社会关系和主流价值观产生了深刻变化。开放对社会和民众的生活的影响是多方面的。 社会生活的变化，政治、经济、社会基础的变化， 对艺术、文化生活产生广泛的影响，也影响着电影产业。因此，埃及和中国社会发生的变化，及电影生产领域发生的变化，对这两个国家的电影艺术进程产生了影响。也许，这些变化对埃及和中国电影制作的最显著的影响是在经济开放政策实施之后的时期，因此，作者在本论文中试图了解埃及和中国的叙事影片如何处理和表现经济开放政策下的社会现状。通过对大量影片的分析，了解开放政策对影片中涉及的社会、经济、政治问题的影响。电影领域的研究者们强调，电影产业的组织既必须与社会主流意识形态保持一致或相互补充，同时还要维护电影产业自身的生存条件和需求，这即是为什么制片商、导演和演员们在踏入新的潮流时一贯保持一致的原因。 在任何一个国家，无论是埃及还是中国，政治制度对电影影片潮流趋势的影响都是至关重要的，它决定着影片的形式和特点。可以说，内部机制对构成影片潮流的条件的决定性远远大于外部机制所起的作用。同样，国际环境则是世界影片潮流的基本推动力。本论文的目的是统计分析电影产业的特点，电影产业效率的阻碍因素，电影产业内部如何采取决定，电影产业内部的社会关系网和官僚主义模式及其两者与电影技术特征的联系，社会关系网与主流秩序的关系，电影产业如何实现其目标，及其与周围的社会和社会意识形态的关系。例如，黎巴嫩的发行商为了便于在阿拉伯国家市场发行影片，对埃及影片的明星选定、影片人物、内容及类型都做出限定，致使影片在制作过程中依据国外的需求和标准。而七十年代中期埃及和中国的开放环境，金钱的诱惑和对金钱的欲望助长了大多数从业的编剧、导演、演员趋从于商业化，正是在这样的内部环境下，国外发行商才可能对影片的制作发挥至关重要的作用。埃及影片为了迎合市场需求，而使影片失去了应有的本质特性。而七十年代中国影片与政治纲领的过度关联，也使中国电影一度低迷。随着电影政策观念的改变，电影被视为一种艺术与商业的结合，在改革开放初期中国电影的境况也随之发生了变化。本论文着重探讨的问题是，经济开放时期，埃及与中国影片中社会价值观的变化，这个问题是最具现实意义的问题。从广义上讲，本论文可以作为对电影社会学研究的入门研究，在这个领域目前还没有一个全面的理论，可以指导作者。此外也没有介绍电影产业或叙事影片发展历史阶段的学术性指南资料可以借鉴，因此对阿拉伯电影史作学术研究有一定困难。另外缺乏介绍埃及与中国电影各个方面的国家电影档案，更增加了对本论题研究的难度。另外笔者很难找到对这样特定的历史时期或特定事件的观点看法，作为引以为据的参考资料。同时，依据导演、制片商、演员及其所处的电影组织特色，对艺术作品自其产生至今进行分类，也很困难。无疑，这些缺憾影响着我们的判断。特别是许多研究者对有关埃及电影的现实记载相互矛盾，他们之间没有对电影产业兴衰时期的划分达成一致，没有就如何振兴电影产业形成一致的意见，亦没有就电影与社会、政治现实构成之间的关系提出任何理论性的观点。电影领域作为一个学术研究尚未涉及的处女地，需要有真正的学术性历史，以供研究者参考，并为研究者提供指导。本篇研究论文，希望可以丰富以历史社会学观点分析电影的研究领域。特别是本论文提供了与中国电影做比较的研究，很大程度上阐明了埃及与中国两国电影组织的特性以及两者之间的异同，从而确定了在社会主义国家电影所行使的意识形态、政治、经济功能完全不同于西方电影。笔者试图通过上述的普遍性特征，在本论文中回答以下几个基本问题：埃及与中国影片如何反映经济现状？如何表现变化了的社会价值观内容？在国社会政治、经济变化潮流影响下，如何塑造艺术形象？鉴于以上所述，本论文共分为六章。第一章 包括以社会学观点对埃及与中国影片研究的理论基础与方法，主要介绍理论观点和研究方法。第二章作者集中讨论两个中心问题，一个是埃及电影与社会经济变化，作者分析了埃及电影产业的发展历史，七十年代初期埃及社会经历的经济社会变迁，并对自1952年革命起至七十年代初埃及实施经济开发政策止这一时期，埃及社会经历的主要变化做了简要的概述，还分析了社会经济变化对埃及电影的影响。第二个中心问题是，电影对社会生活的影响：在这个论题中，介绍了电影的重要性和影响，电影如何处理表现社会现状，电影影片表现的社会样式，电影影片带给观众的思想与价值观及影片追求的对社会的思考、分析和表现的每个社会的特征。还介绍了社会问题的特点、原因、寻求改善和解决办法，适应社会。第三章讲述了中国电影产业的产生和发展，七十年代初期中国社会经历的经济、社会变迁，并对自中国社会主义革命至七十年代初期改革开放政策实施之前的社会变化做简要概述。还研究了社会、经济变化给中国电影带来的影响。第四章分析了埃及和中国电影所面临的问题。在这一章里主要从制作、发行以及政策等方面揭示了埃及电影所存在的内在矛盾。并通过借鉴中国政府对电影的支持，进而强调政府在电影产业中所起的重要作用。第五章是埃及与中国的叙事影片及社会价值观，用内容分析法对两者进行比较研究，研究经济开放政策十年时间内，埃及与中国影片表现的社会价值观的变化。本章分为四个部分，第一部分，用分析内容法研究的步骤， 第二部分，分析了埃及电影中价值观的变化，第三部分比较了中埃两国电影中价值观的不同，第四部分讲的埃及和中国电影中人物、题材、意识形态和模式的比较。第六章是本论文的结论。

Egypt and China have taken similar economic polices leading to the declaration of the Economic openness that was convergent in both countries at the end of the seventies. If economic openness refers to economic policy, then applying this policy could have resulted in profound changes in social relations, values and exposure to spread the effects to many aspects in the lives of citizens and society.It is inevitable that changes in social life together with changes in political, economical and social structure impact interactive artistic and cultural life in general and film production in particular. Changes in the Egyptian society and Chinese societies monitored the evolution of film production and had an impact on the progress of this art in the two countries, and perhaps the clearest impact was production of Egyptian and Chinese film industries is the period that followed the economic openness. A researcher of this study wants to know how Egyptian and Chinese feature films deal with social reality through the implementation of the policy of economic openness, through analysis of a series of films to identify the impact of the policy of openness on social and economic problems and political feature films. The researchers in the field of cinema stress the importance of organizational and industrial Film consistency either permanent or as an integration with the prevailing ideology in the community in terms of maintaining the conditions and requirements for the film industry to survive. This explains the unification of producers, directors and representatives to engage in a new wave of maintenance. The political system in any country, whether Egypt or China plays an essential role in the production of bizarre successive waves of films in its design and character. It can also be said that the conditions for a film trend was set mainly through internal mechanisms rather than external. Contrary to what we notice in the trends of global films that were based on international circumstances as a basic motivation. The purpose of this study is to monitor and analyze the characteristics of the Film organization and constraints that limit the degree of effectiveness of the industrial organization Film and how decision-making within the organization, and the network of social relations and patterns that dominated bureaucracy or technical nature Rtbatha? movie. And their relationship to the prevailing regulations and how to achieve its goals, and relationship to the society in which the ideologies believed. For example, the Lebanese distributor has played a crucial role in imposing a certain quality of the stars, personalities and issues on the Egyptian films to be easily marketed in Arab countries, which makes the film ultimately a combination according to the specifications and standards of outside influence. The atmosphere of openness has helped the economy boom in Egypt and China since the mid-seventies and influenced the writers and directors to go with flow under the temptation of money.The Association of Egyptian and Chinese in the Cinema in fulfilling the demands of the market led to them losing their identity and uniqueness.. It has linked Chinese cinema political approach in the seventies to the sudden disappearance of the Chinese cinema for a period of time and then with the change of political outlook towards cinema as art and trade at the same time, the situation changed with the beginning of the reform and opening up. In fact, the problem in this study is the most vital problems with respect to the changes that have suffered social values are also in the Egyptian and Chinese Cinema, expressed through their economic openness. In the study they are described the overall entrance to discuss the sociology of cinema in that area, which lacks a comprehensive theory in leading and guiding the researcher. Furthermore, we do not have the scientific evidence to guide us when we want to identify the developments experienced by the industry or historical stages of Film production, Arab Film Histories have difficulty dealing and addressing scientifically, and over coming this difficulty thinking for the existence of a national archive of film to get acquainted with the various dimensions of the Egyptian and Chinese cinema. In addition, difficulty for the researcher to obtain references that can be granted by a certain point of view towards certain historical periods' or specific events' as it is also difficult to put classification of the works of art created since the date given to directors and producers and their representatives and Film Properties Management, which took them. Affected our judgment was affected no doubt - no doubt - these deficiencies and who write about Egyptian cinema face often conflicting facts. There is no agreement among them on the decline and prosperity 'to the film industry' and also agreement on how to promote cinema 'not propose felt theory Mujharabt cinema leading social and political reality. The movie needed to history is a real scientific research and the port of studies or Guide 'help us as a virgin in this area. Certainly, such a study can enrich the historical sociological studies of the cinema because they enrich the real comparative study with Chinese cinema Such study will reveal much about the nature of film organizations in the two countries, Egypt and China, the agreement and separation between 'In light will be determined by the nature of generalizations that can be reached or provisions aimed especially in cinema in socialist countries where they exercise their functions under totally different circumstances. Ideologically, politically and socially engaged on the circumstances under which Western cinema. We will try in the light of the aforementioned general features to answer in this study a number of these questions how the Egyptian and Chinese films reflect economic reality? How dealing with the changing patterns of social values? How shaped features are artistic phenomenon in the light of changing political and economic trends in the two countries, Egypt and China? Through these considerations the study has four chapters which include seven chapters: Chapter I, contains theoretical and methodological foundations for the study of the film Alsoseloger Egyptian and Chinese reviews trends in theory and research method. Chapter II has been a researcher in the study focused on two axes, the first Egyptian Cinema social and economic changes. Addressed researcher historical analysis of the evolution of industry Alsimna in Egypt and the most important economic and social developments undergone by the Egyptian community in the early seventies, and presents before quickly to the most important changes undergone by the Egyptian society since the revolution of 1952 until the early seventies, where a policy of economic openness and resulting from the economic and social changes have had an impact on the Egyptian cinema. The second axis is the impact of cinema on social life: In this the thesis is on this side of the importance of cinema and its implications ... and the capacity of cinema to address the social reality and Matkdmh film models of social and Matdah before the viewers of ideas and values, and another mechanism of reflection and study, the characteristics of each society and to identify the nature and causes of its problems and find solutions to them, and then adapt all this and try to change for the better Chapter III, which deals with a study by the emergence and development of Chinese movie industry the most important economic and social developments undergone by the Chinese community in the early seventies, and presents before quickly to the most important changes that Chinese society has undergone since the establishment of socialist revolution until the early seventies, where a policy of economic openness and the resulting by the Economic and social changes have had an impact on Chinese cinema Use the same approach, which dealt with by the Egyptian cinema Chapter V Film Egyptian and Chinese social values and comparative study of content analysis' from the beginning of economic openness and change the right of social values as demonstrated in the Egyptian film and the Chinese over a decade. This section contains three chapters of the first plan of study in the analysis of the secured. Section II of this section address the analysis total twenty feature film Egypt and the Chinese lies in the period 1978 to 2003, 'to identify the nature of formats value contained in these films. Section III held a kind of interview between Alnozj theoretical study and draw our findings In chapter IV we have a final discussion.