Middle East

New PDF release: A Social History of Iranian Cinema, Volume 3: The Islamicate

By Hamid Naficy

ISBN-10: 0822348772

ISBN-13: 9780822348771

Hamid Naficy is among the world’s top gurus on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. overlaying the overdue 19th century to the early twenty-first and addressing documentaries, renowned genres, and paintings motion pictures, it explains Iran’s atypical cinematic creation modes, in addition to the position of cinema and media in shaping modernity and a latest nationwide id in Iran. This finished social heritage unfolds throughout 4 volumes, each one of which might be liked on its own.

In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and movie undefined. through the e-book, 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 trained not just by way of Islam but additionally by way of Persian traditions. Naficy examines documentary motion pictures made to checklist occasions ahead of, in the course of, and within the quick aftermath of the revolution. He describes how definite associations and members, together with prerevolutionary cinema and filmmakers, have been linked to the Pahlavi regime, the West, and modernity and for that reason perceived as corrupt and immoral. a number of the nation's moviehouses have been burned down. Prerevolutionary movies have been topic to strict evaluation and infrequently banned, to get replaced with motion pictures commensurate with Islamicate values. Filmmakers and entertainers have been thrown out of the undefined, exiled, imprisoned, or even performed. but, out of this innovative turmoil, a unprecedented Islamicate cinema and picture tradition emerged. Naficy strains its improvement and explains how Iran's lengthy warfare with Iraq, the gendered segregation of area, and the imposition of the veil on girls inspired definite ideological and aesthetic developments in movie and comparable media. eventually, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the hot evolving cinema.

A Social background of Iranian Cinema
Volume 1: The Artisanal period, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume three: The Islamicate interval, 1978–1984
Volume four: The Globalizing period, 1984–2010

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Extra resources for A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984

Example text

The same medium whose corrupting, poisonous, and immoral products had been employed to discredit and dismantle the Pahlavi regime was now deployed to legitimize the new Islamist regime. This was a new example of the classic violence waged between idolaters and iconoclasts. Having declared the Pahlavi regime and its culture of spectacle, including cinema, as idolatrous justified the violent exercise of iconoclasm that followed. However, the purpose of iconoclasm is never solely to destroy existing idols, but to replace them with new ones that are more to the taste of the new order (Morgan 2005:117).

These concepts were mobilized into all-�encompassing panoptic systems of surveillance, modesty, and gender segregation and regulation that affected architecture, professional fields of study, human relations, dress, gaze, voice, body language, and gender relations, with particularly serious consequences for the social presence and cinematic representation of women. To promulgate the modesty system, called hejab, vast bureaucracies were set up in the legislative, judicial, and executive systems, including the morality police and the Ministry of Culture and Islamic Guidance (mcig), which oversaw cinema.

Each carried a brown bag that looked like the bags of mixed nuts and roasted seeds (ajil ) that moviegoers customarily took into the cinemas—Â� except that theirs each contained a bottle of high-Â�octane airplane fuel. The men joined the spectators who were engrossed in Masud Kimiai’s controversial movie, The Deer, about a down-Â�on-Â�his-Â�luck smuggler and a heroin addict, characters widely interpreted as symbolizing anti-Â�Shah revolutionaries. Halfway through the film, Hosain and Farajollah left the screening hall on the pretext of going to the bathroom; instead they doused the theater’s wooden doors, the corridor walls, and the concession stand with gasoline.

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A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 by Hamid Naficy


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