A Social History of Iranian Cinema: Volume 3 - The by Hamid Naficy

By Hamid Naficy

Hamid Naficy is among the world’s best specialists on Iranian movie, and A Social background of Iranian Cinema is his magnum opus. protecting the overdue 19th century to the early twenty-first and addressing documentaries, well known genres, and artwork motion pictures, it explains Iran’s unusual cinematic construction modes, in addition to the function of cinema and media in shaping modernity and a latest nationwide identification in Iran. This finished social background unfolds throughout 4 volumes, each one of which might be favored on its own.

In quantity three, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and picture undefined. during the booklet, he makes use of the time period Islamicate, instead of Islamic, to point that the values of the postrevolutionary nation, tradition, and cinema have been educated not just via Islam but in addition by way of Persian traditions. Naficy examines documentary movies made to checklist occasions sooner than, in the course of, and within the instant aftermath of the revolution. He describes how sure associations and contributors, together with prerevolutionary cinema and filmmakers, have been linked to the Pahlavi regime, the West, and modernity and accordingly perceived as corrupt and immoral. the various nation's moviehouses have been burned down. Prerevolutionary movies have been topic to strict evaluation and sometimes banned, to get replaced with movies commensurate with Islamicate values. Filmmakers and entertainers have been thrown out of the undefined, exiled, imprisoned, or even done. but, out of this innovative turmoil, a rare Islamicate cinema and movie tradition emerged. Naficy lines its improvement and explains how Iran's lengthy conflict with Iraq, the gendered segregation of area, and the imposition of the veil on ladies inspired sure ideological and aesthetic traits in movie and comparable media. ultimately, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the recent evolving cinema.

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For example, Mahmud Rashidian, the former governor of Khuzestan Province, who was presumably related to the notorious Rashidian brothers—Â�film exhibitors and owners of Rex Cinema-Â�Theater in Tehran, who were involved in the 1953 coup against Mosaddeq—Â�was elected to the MajÂ� les in Tehran; Mahmud Abolpur, a teacher, was appointed head of Abadan school district; and Abdollah Lorqaba, an employee of Iran National Airlines who had apparently supplied the jet fuel to the arsonists, became a member of the Islamic society of Abadan Airport.

145). On the seventh and fortieth days of mourning for those who had died in previous demonstrations, more people died in the affected cities and other cities, with each demonstration or mourning commemoration feeding an escalating cycle of violence that gradually engulfed the entire country and all social strata. Many people blamed the government for torching public places, such as banks and movie houses, and public property, such as city buses, as a way to discredit the insurgency and to prevent Iranians from joining it, while the government blamed the insurgents.

If Nuri’s metaphor for cinema was medical (contagion) and Navvab Safavi’s industrial (smelting furnace), Khomeini’s, in his book Kashf-Â�ol Asrar, was sexual (rape). 10 Updating his preÂ� decessor Khomeini, Ayatollah Ali Khamenei claimed in the 1990s that the t ra n si t i on to “islamic ate c inema” 5 West “injected” its corrupting culture into Iran, “not with a hypodermic needle, but with radio and television, fashion magazines, advertising, and ballyhoo” (1994:17). Injection theory would soon become part of the new regime’s counteroffensive against Western cultural invasion and imperialism.

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