By Hamid Naficy
In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and picture undefined. in the course of the ebook, he makes use of the time period Islamicate, instead of Islamic, to point that the values of the postrevolutionary kingdom, tradition, and cinema have been knowledgeable not just by means of Islam but additionally by means of Persian traditions. Naficy examines documentary motion pictures made to checklist occasions ahead of, in the course of, and within the instant aftermath of the revolution. He describes how sure associations and participants, together with prerevolutionary cinema and filmmakers, have been linked to the Pahlavi regime, the West, and modernity and hence perceived as corrupt and immoral. a few 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 movies commensurate with Islamicate values. Filmmakers and entertainers have been thrown out of the undefined, exiled, imprisoned, or even completed. but, out of this innovative turmoil, a rare Islamicate cinema and movie tradition emerged. Naficy strains its improvement and explains how Iran's lengthy battle with Iraq, the gendered segregation of area, and the imposition of the veil on girls inspired yes ideological and aesthetic developments in movie and comparable media. ultimately, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the recent evolving 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 3: The Islamicate Period, 1978–1984
Fountains of blood (filled with red dye) sprang up in most cemeteries to denote and validate the martyrs’ blood shed on the road to revolution and the revolution’s defense. Even the colorful, dramatic, government-Â�issued stamps, which Peter Chelkowski (1987) appropriately called “Stamps of Blood,” capitalized on these concepts, circulating to the far corners of the world the iconographic messages of the war and revolution. Oversized portraits of the Islamist leaders and martyrs were (and still are) displayed on public walls and on the roads, and tulips of martyrdom were placed in cemeteries, on stamps, and on the national flag.
In one ideological and structural respect the Pahlavi and the new Islamic Republic were very similar, and that was the way both elevated their leaders to transcendent heights, towering over the mere mortals who were their subjects. During the last phases of the “White Revolution,” Mohammad Reza Shah Pahlavi’s title was changed from the Shah, or the Shahanshah (king of kings), to Shahanshah-Â�e Aryamehr (king of kings, light of Aryans); likewise, after the success of the “Islamic Revolution” and his return to Iran, Ayatollah Ruhollah Khomeini acquired the title of Imam, which in Shiism is generally reserved for the twelve direct descendants of Prophet Mohammad and Ali, and is generally not applied to any other religious leader, as is the case in Sunni Islam.
Several documentaries dealt with this pivotal event. Alireza Davudnezhad’s A Report on Abadan’s Rex Cinema (Gozareshi az Sinema Rex-Â�e Abadan, 1978–79), is an eighty-Â�minute film which contains interviews with survivors and footage of the charred cinema auditorium and projection booth. Masud Navai’s film Abadan’s Rex Cinema (Sinema Rex-Â�e Abadan, 1979–80) contains an important interview with Takabalizadeh, an interview that was used as evidence in the trial against him, as were scenes of Davudnezhad’s film.
A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 by Hamid Naficy