A History of the Crusades, Volume VI: The Impact of the by Kenneth M. Setton, Harry W. Hazard, Norman P. Zacour

By Kenneth M. Setton, Harry W. Hazard, Norman P. Zacour

The six volumes of A background of the Crusades will stand because the definitive heritage of the Crusades, spanning 5 centuries, encompassing Jewish, Moslem, and Christian views, and containing a wealth of data and research of the background, politics, economics, and tradition of the medieval global.

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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). What needed to be done was to evacuate cinema of its corrupt idols (stars, personnel, genres) and to replace them with upright, moral, Islamicate ones. When Hojjatoleslam Mohammad Khatami was elected president, in 1997, in a landslide, more Western and modernist formulations found their way into the official Islamicate values.

S. imports covered a broad range, from comedies to political movies, with such films as It’s a Mad, Mad, Mad, Mad World, Modern Times, Three Days of the Condor, The Cassandra Crossing, The Great Escape, Cinderella, The Jungle Book, and Papillon. Soviet and Eastern bloc films—Â�inexpensive to import—Â�also flourished to the point of overtaking the American, Italian, and Japanese films. For example, as the Iran Times reported, 74 (or more than a third) of the 213 foreign movies licensed by the mcig for 1981 came from the Soviet bloc.

And if the use of motion picture industry is deemed necessary for society, [then] the history of Islam and Iran and useful material such as medical, agricultural, and industrial lessons should be produced under the supervision of chaste professors and Islamic scholars observing the principles and criteria of the holy religion of Islam and then shown for education, reform, and socially wholesome entertainment. (1978: 11) Khomeini spelled out a similar theme, years later, on his triumphant return to Iran after the fall of the Shah, in February 1979.

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