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A Social History of Iranian Cinema, Volume 4: The by Hamid Naficy

By Hamid Naficy

Hamid Naficy is likely one of the world's prime gurus on Iranian movie, and A Social background of Iranian Cinema is his magnum opus. protecting the overdue 19th century to the early twenty-first and addressing documentaries, renowned genres, and paintings motion pictures, it explains Iran's extraordinary cinematic construction modes, in addition to the function of cinema and media in shaping modernity and a contemporary nationwide id in Iran. This accomplished social historical past unfolds throughout 4 volumes, each one of which might be favored on its own.

The amazing efflorescence in Iranian movie, television, and the hot media because the consolidation of the Islamic Revolution animates Volume 4. in this time, documentary motion pictures proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year conflict with Iraq; others critiqued postrevolution society. The robust presence of girls on display and in the back of the digital camera ended in a dynamic women's cinema. A dissident art-house cinema—involving the very best Pahlavi-era new-wave administrators and a more youthful iteration of leading edge postrevolution directors—placed Iranian cinema at the map of global cinemas, bringing status to Iranians at domestic and overseas. A fight over cinema, media, tradition, and, eventually, the legitimacy of the Islamic Republic, emerged and intensified. The media turned a contested web site of public international relations because the Islamic Republic regime in addition to international governments adverse to it sought to harness Iranian pop culture and media towards their very own ends, inside and out of doors of Iran. The wide foreign move of flicks made in Iran and its diaspora, the titanic dispersion of media-savvy filmmakers out of the country, and new filmmaking and conversation applied sciences helped to globalize Iranian cinema.

A Social heritage 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 4: The Globalizing Era, 1984–2010

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Theoretically, spectators tapped into both masochistic and sadistic scopophilia. Spectators could identify with the heroic fighters, most of them very young boys, and with their selfless actions, terrible hardships, and mutilated bodies. On the other hand, they may have drawn aberrant, sadistic pleasure by identifying with the perpetrators of mutilation and violence. The first form was dominant as most families had at least one member at the front whose memory intensified the structure of masochistic identification.

Nongovernmental and nonfestival outlets for documentary screening were few and small. The international circulation of documentaries lagged behind that of fiction, but it grew in the 2000s. Most of the top Pahlavi-­period documentaries gained fame not because they were shown widely but often precisely because they were not screened at all, or if so only at film festivals, university cine-­clubs, and foreign governments’ cultural societies. Inaccessibility and censorship conferred value. Sometimes the restrictions were due to the film’s critical intelligence, but not always.

Shekl-­e Dovvom, 1979), Kianush Ayyari’s Summer 1979 in Today’s Tehran: First Timers (Tabestan-­e 1358 dar Tehran-­e Emruz: Tazeh Nafasha, 1979), and Amir Naderi’s First Search (Jostoju-­ye Yek, 1980). Ayyari’s film is an important historical film as it presents documentary footage of the immediate postrevolution period when there was much fluidity and freedom, with street vendors displaying rows of books and pamphlets, young stand-­up comics accurately mimicking prerevolution enter- tainers (Fereydoun Farrokhzad) or political leaders (the Shah) for a large and delighted audience, a sign outside a movie house asking customers not to bring weapons inside, people arguing about politics in the streets or lecturing the passersby, and unveiled women strolling and carrying out their business freely in public places.

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