Read e-book online A Social History of Iranian Cinema, Volume 3: The Islamicate PDF
By Hamid Naficy
In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and movie undefined. during the e-book, 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 in addition by means of Persian traditions. Naficy examines documentary motion pictures made to checklist occasions ahead of, in the course of, and within the fast aftermath of the revolution. He describes how yes associations and members, together with prerevolutionary cinema and filmmakers, have been linked to the Pahlavi regime, the West, and modernity and consequently perceived as corrupt and immoral. a number of the nation's moviehouses have been burned down. Prerevolutionary motion pictures have been topic to strict assessment 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 warfare with Iraq, the gendered segregation of area, and the imposition of the veil on girls inspired yes ideological and aesthetic traits in movie and comparable media. ultimately, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the recent evolving cinema.
A Social background 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
Read or Download A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 PDF
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Additional resources for A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984
Because of the evidence that Islamic forces had been involved with the arsonists and because of the incompetent and politicized trial, an ironic reversal of credibility emerged. The belief took root among some in the public at home and abroad that it was not the Shah’s regime but the Islamic revolutionaries themselves who were the real perpetrators of that holocaust. The perception—Â�and perhaps the fact—Â�of a cover-Â�up stigmatized the Islamic government as it had the Shah’s. Because of the various cover-Â�ups, misinformation, discrepancies, and manipulations of public opinion by both regimes, there is much more to be understood about this pivotal event, whose complexity and murky politics an observer in Abadan analogized to those of President Kennedy’s assassination (Naficy 2005e).
Injection theory would soon become part of the new regime’s counteroffensive against Western cultural invasion and imperialism. Despite this hypodermic formulation of the effects of motion pictures, these leaders did not consider cinema’s ideological “work” alone; rather, they rightly viewed it in the context of the overdetermination of Westernization and modernity in Iran, and as a component of mediawork. This view considered, however crudely and instrumentally, the intertextuality and cross-Â� fertilization of society’s signifying institutions.
However, as in the Pahlavi era, beneath the surface show of unity and spectacle, stage-Â�managed by the Islamist regime and its ideological and coercive apparatuses, lurked dark waves of division and discontent, awaiting suitable conditions to surface. ” In rare passages they both spoke about this. Navvab Safavi said, Movie houses, theatres, novels, and popular songs must be completely removed and their middlemen punished according to the holy Islamic law. And if the use of motion picture industry is deemed necessary for society, [then] the history of Islam and Iran and useful material such as medical, agricultural, and industrial lessons should be produced under the supervision of chaste professors and Islamic scholars observing the principles and criteria of the holy religion of Islam and then shown for education, reform, and socially wholesome entertainment.
A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 by Hamid Naficy