By Hamid Naficy
In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and movie undefined. in the course of 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 proficient not just through Islam but additionally by way of Persian traditions. Naficy examines documentary motion pictures made to list occasions ahead of, in the course of, and within the quick aftermath of the revolution. He describes how convinced 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. some of the nation's moviehouses have been burned down. Prerevolutionary motion pictures have been topic to strict evaluate and sometimes 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 achieved. but, out of this innovative turmoil, a rare 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 ladies inspired sure ideological and aesthetic traits in movie and similar media. eventually, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the hot evolving cinema.
A Social historical past 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 resources for A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984
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.