By Hamid Naficy
In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and picture undefined. during the ebook, he makes use of the time period Islamicate, instead of Islamic, to point that the values of the postrevolutionary country, tradition, and cinema have been expert not just by way of Islam but in addition through Persian traditions. Naficy examines documentary motion pictures made to list occasions sooner than, 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 accordingly perceived as corrupt and immoral. a few of the nation's moviehouses have been burned down. Prerevolutionary motion pictures have been topic to strict assessment 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 completed. but, out of this innovative turmoil, a unprecedented Islamicate cinema and movie tradition emerged. Naficy lines its improvement and explains how Iran's lengthy battle with Iraq, the gendered segregation of area, and the imposition of the veil on girls inspired definite ideological and aesthetic traits 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
Read or Download A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 PDF
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Extra info for A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984
At a deep psychological level, this dependence on the guidance and guardianship of an external agency counters one of the chief engines of cinema, which is the targeting and production of individualized subjectivity through its system of suture. During the savage eight-Â�year war with Iraq, these Islamicate concepts, values, and icons, particularly those that emphasized populism, self-Â�sacrifice, martyrdom, self-Â�defense, violence, and death, became more prominent. A whole culture of self-Â�sacrifice and martyrdom bordering on fascism emerged.
Exterior (zaher), insider (khodi) vs. outsider ( gharibeh) were applied to filmmakers and artists to differentiate supporters and critics of the regime. In addition, these dualities were overlaid strongly with Islamic dualities of related (mahram) vs. unrelated (namahram) and permissible (halal) vs. impermissible (haram), stifling individuality, equality, and freedom of expression and conduct. These concepts were mobilized into all-Â�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.
In due course, some of these were refurbished or rebuilt (figs. 6–8). Another form of cleansing befell the film prints and film negatives held in archives, both of documentary and fiction films. 28 Curbing and Realigning the Imports Immediately after the revolution, uncertain conditions discouraged investment in domestic productions, but encouraged both exhibition of old movies and importation of new ones. Table 1 shows a snapshot of the foreign movies receiving exhibition permits. Comedies and “spaghetti” Westerns came from 22 t r ans i t i o n t o “i sla mi ca t e ci n ema” 6â•‡ Efriqa (Africa) Cinema on Vali Asr Avenue, Tehran, 2010.