By Hamid Naficy
In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and picture undefined. through 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 educated not just by way of Islam but additionally via Persian traditions. Naficy examines documentary motion pictures made to checklist occasions sooner than, in the course of, and within the instant aftermath of the revolution. He describes how definite associations and participants, 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 motion pictures have been topic to strict evaluation 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 done. but, out of this innovative turmoil, a unprecedented Islamicate cinema and picture tradition emerged. Naficy strains its improvement and explains how Iran's lengthy battle with Iraq, the gendered segregation of house, and the imposition of the veil on ladies inspired sure ideological and aesthetic tendencies in movie and similar media. ultimately, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the recent 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
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Additional resources for A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984
1 The mainstream press reported that of the approximately 700 spectators, 377 burned to death (Abkashak 1985:14–15); others claimed 600 deaths (Nabavi 1999). , “burned throughout most of the night, and the victims’ cries could be heard by hundreds helplessly watching from outside the theater. . ”â†œ2 Grief, mourning, and anger gripped the entire city. Some families bore an undue share of the calamity, having lost multiple members, among them Jafar Sazesh, who lost five of his children, and Yusef Radmehr, who lost ten children (fig.
6 Disillusioned with the revolutionary outcome, he later turned against the regime and in a massive book-Â�length confession claimed that the cleric who presided as judge over the Rex Cinema criminal trial, HojjaÂ� toleslam Musavi Tabrizi, was himself one of the architects of the Rex Cinema fire and had personally directed the arsonists (Boroujerdi 2002:91–94). Abadan and the nation were both transfixed and transformed by the Rex Cinema tragedy. ”â†œ8 Other movie houses had been destroyed in Tehran and Tabriz, but without casualties; it was the massive scale of the Rex Cinema crime along with the tragedy and surrounding ambiguity that transformed the destruction of cint ra n si t i on to “islamic ate c inema” 3 2â•‡ The protagonist of Khosrow Sinai’s fiction movie, In the Alleys of Love, visits the actual ruins of the Rex Cinema during his nostalgic tour of the city.
As a result, these values evolved and even disappeared with changing circumstances. For example, populism as a vibrant part of the Islamicate ideology effectively ended with the termination of war with Iraq and the death of Ayatollah Khomeini, in 1989. Populism was first replaced by clientelism, according to which autonomous parallel groups formed powerful vertical, personal, patron-Â�client bonds with ruling Islamic structures, and then by increasing militarization of the government after the war, during the presidencies of Rafsanjani and Khatami, culminating with Ahmadinejad’s presidency, in 2005 (Alamdari 2005:1286).
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