By Hamid Naficy

ISBN-10: 0822348780

ISBN-13: 9780822348788

Hamid Naficy is without doubt one of the world's best professionals on Iranian movie, and A Social background of Iranian Cinema is his magnum opus. masking the overdue 19th century to the early twenty-first and addressing documentaries, renowned genres, and paintings movies, it explains Iran's extraordinary cinematic construction modes, in addition to the position of cinema and media in shaping modernity and a latest nationwide identification in Iran. This accomplished social background unfolds throughout 4 volumes, each one of which are liked on its own.

The amazing efflorescence in Iranian movie, television, and the hot media because the consolidation of the Islamic Revolution animates quantity four. in this time, documentary movies proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year conflict with Iraq; others critiqued postrevolution society. The powerful presence of ladies on display and in 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 global 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 turned a contested web site of public international relations because the Islamic Republic regime in addition to overseas governments opposed to it sought to harness Iranian pop culture and media towards their very own ends, inside and outdoors of Iran. The vast overseas move of movies made in Iran and its diaspora, the huge dispersion of media-savvy filmmakers overseas, and new filmmaking and conversation applied sciences helped to globalize Iranian cinema.

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Extra resources for A Social History of Iranian Cinema: Volume 4 - The Globalizing Era

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Had 16 T he G lobalizi ng Era lost his composure [and] had taken refuge [at] a wall nearby and was striking his own head from sorrow; I, too, was crying, while the scene continued to unfold” (Avini 1992b:42). In smaller film units, the cameramen had a difficult task as they had to nimbly cover the unfolding action, think like a director in terms of shooting strategy, and conduct interviews with subjects, often during fighting. Out of necessity and to enhance realism, much of the footage was filmed handheld and in synch sound.

This fed into the wartime tendency to stereotype, in documentaries as well as in features (in the war films after the end of the war, more variation crept in). Jihad tv was productive. In ten years it produced for national broadcast a massive series of half-­hour films collectively called the Chronicle of Victory (Ravayat-­e Fath). Aired in five series from 1985 to 1992, each series contained between eleven and fourteen films (figure 3). 24 In addition, Jihad tv produced series about rebellions inside Iran, such as Six Days in Turkmen Sahra (Shesh Ruz dar Torkaman Sahra, 1980), about the Turkmen rebellion in the north; Hand-­Picked by the Khans (Khan Gozidehha, 1980), in six parts directed by Avini, about the oppression of Qashqai tribes in the southwest by their chiefs Naser Khan and Khosrow Khan, who were allegedly colluding with foreign powers to destabilize the iri regime; Triumph of Blood (Fath-­e Khun, 1981), a three-­part film about the war of cities; and Truth (Haqiqat, 1985), an eleven-­ 14 T he G lobalizi ng Era part series about the first two years of the war with Iraq in Abadan, Susangerd, and Dezful.

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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A Social History of Iranian Cinema: Volume 4 - The Globalizing Era by Hamid Naficy

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