By Hamid Naficy

Hamid Naficy is without doubt one of the world’s major specialists 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 construction modes, in addition to the function of cinema and media in shaping modernity and a contemporary nationwide identification in Iran. This entire social background unfolds throughout 4 volumes, each one of which might be preferred on its own.

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

Show description

Read Online or Download A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 PDF

Best middle east books

Frommer's Dubai and Abu Dhabi Day by Day (Frommer's Day by Day - Pocket)

Frommer’s Dubai & Abu Dhabi Day by way of Dayis a full-colour, useful, available booklet for classy guests who intend to make the main in their remain. This guidebook is helping customer plan special-interest excursions in Dubai, Arabian background, spas, and extra in addition to day journeys to Sharjah, Al Ain, and Hatta.

Commanding Syria: Bashar al-Asad and the First Years in Power

This can be the 1st significant paintings on Bashar al-Asad. It assesses the sturdiness of his father, Hafiz's legacy together with the continual impact of the previous power-brokers, the effectiveness of Bashar's makes an attempt to maneuver clear of his father's shadow, and the clients for reform. specifically, it evaluates Bashar's carrying on with carry on energy following Syria's humiliating retreat from Lebanon in Spring 2005 and the competitive American force to impose democracy within the heart East.

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

Example text

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. . ”↜2 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. ”↜8 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 2╇ 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).

Download PDF sample

Download A Social History of Iranian Cinema, Volume 3: The Islamicate by Hamid Naficy PDF
Rated 4.52 of 5 – based on 32 votes