Download PDF by Hamid Naficy: A Social History of Iranian Cinema, Volume 4: The
By Hamid Naficy
The notable efflorescence in Iranian movie, television, and the recent 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 warfare with Iraq; others critiqued postrevolution society. The robust presence of girls on monitor and at the back of the digital camera ended in a dynamic women's cinema. A dissident art-house cinema—involving the superior Pahlavi-era new-wave administrators and a more youthful iteration of cutting edge postrevolution directors—placed Iranian cinema at the map of worldwide cinemas, bringing status to Iranians at domestic and out of the country. A fight over cinema, media, tradition, and, finally, the legitimacy of the Islamic Republic, emerged and intensified. The media grew to become a contested website of public international relations because the Islamic Republic regime in addition to overseas governments adverse to it sought to harness Iranian pop culture and media towards their very own ends, inside and outdoors of Iran. The large overseas circulate of movies made in Iran and its diaspora, the immense dispersion of media-savvy filmmakers in another country, and new filmmaking and communique 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
Most of the directors of war films were young and inexperienced. Making war movies constituted their training. The movies concentrated on the fighting and disregarded the home front. They missed chances to tell individual war soldiers’ and commanders’ dramatic life stories and failed to recount decisive war operations, such as the siege of Abadan or the defeat of the enemy in Khorramshahr (Farasati 2004/1382:14). The diversity of governmental and paragovernmental organizations supporting war movies demonstrates the state’s impact in overdetermining the official war culture nationwide.
In one sequence, the camera focuses on a group of teenage soldiers eating a meal in a dirt field (figure 2). Soon, this simple, worldly scene is transformed into a powerful philosophical one. ” The series’ title, Chronicle of Victory/ Ravayat-e Fath, is superimposed on his image. Frame enlargement. ” Another soldier decides to mock television reporters by taking up a microphone and trying to interview his cohorts. However, one by one, they shy away, evade answering, and refuse to become the object of attention.
That the original Super 8 stock was positive (with no negative original) meant that any screening of the footage damaged the original. Unless the Super 8 footage is transferred to a more current format, or to internegative stock, or digitized, its usability will diminish further. 18 One film assembled from the Forty Witnesses output was Muharram in Muharram (Moharram dar Moharram, 1983), about a military operation in 1982, called Moharram, which took place during the sacred month of Muharram. Niknejad and Kashani directed the film, whose editing took an inordinate amount of time, some eight months, as the footage, by many amateurs, had not been shot with the intention of putting a film together.
A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010 by Hamid Naficy