By Hamid Naficy
Hamid Naficy is without doubt one of the world’s top specialists 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, well known genres, and artwork movies, it explains Iran’s abnormal cinematic construction modes, in addition to the function of cinema and media in shaping modernity and a contemporary nationwide id in Iran. This entire social background unfolds throughout 4 volumes, each one of that are preferred on its own.
In quantity three, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and picture undefined. through the publication, 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 means of Islam but additionally through Persian traditions. Naficy examines documentary movies made to list occasions ahead of, in the course of, and within the quick 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 for that reason perceived as corrupt and immoral. a few of the nation's moviehouses have been burned down. Prerevolutionary movies have been topic to strict assessment and infrequently banned, to get replaced with movies commensurate with Islamicate values. Filmmakers and entertainers have been thrown out of the undefined, exiled, imprisoned, or even accomplished. but, out of this innovative turmoil, a rare Islamicate cinema and movie tradition emerged. Naficy lines its improvement and explains how Iran's lengthy conflict with Iraq, the gendered segregation of area, and the imposition of the veil on ladies inspired yes ideological and aesthetic tendencies in movie and similar media. ultimately, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the hot evolving cinema.
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Extra info for A Social History of Iranian Cinema: Volume 3 - The Islamicate Period
In terms of foreign relations, Khatami replaced the previous “neither East nor West” doctrine with the “dialogue of civilizations,” so attractive beyond Iranian borders that the United Nations designated that year as the year of dialogue of civilization. While these syncretic Islamic ideas sounded refreshing and promised much-Â�needed reforms, in practice their implementation was stymied by the peculiar formal governing structures and informal formations of the Islamic Republic. Arrest, interrogation, imprisonment, torture, and murder of reformists, journalists, and “alternative thinkers” or “counterhegemonic thinkers” (degar andishan) increased under the guise of preserving the nation’s security, public order, and moral and revolutionary values (Kar 2001:262).
During the mass protests in Tabriz in February 1978, the demonstrators turned their wrath against the Pahlavi economic and cultural systems by destroying symbols of those systems. 18 Soon after, on 27 March 1978, a fire in a poor neighborhood of Tehran reiterated the torching of the movie houses as a new revolutionary tactic (Malek and Mohsenian Rad 1994:87). On 4 August, four motorcyclists firebombed Shahr-Â�e Farang Cint ra n si t i on to “islamic ate c inema” 15 ema in Isfahan, the only movie house in that city that showed foreign movies in original languages and thus a favorite of foreign nationals and Westernized Iranians.
While the torching of the movie houses had occurred before, what happened in the Abadan’s Rex Cinema on a hot summer night elevated it into a whole new revolutionary—Â�and criminal—Â�tactic. Rex Cinema Inferno On 19 August 1978, Hosain Takabalizadeh and three friends, Farajollah BazrÂ� kar, Yadollah, and Fallah, walked into Rex Cinema, a second-Â�tier movie house in a poor part of the city of Abadan, the site of one of the world’s largest oil refineries. Each carried a brown bag that looked like the bags of mixed nuts and roasted seeds (ajil ) that moviegoers customarily took into the cinemas—Â� except that theirs each contained a bottle of high-Â�octane airplane fuel.