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 e-book, he makes use of the time period Islamicate, instead of Islamic, to point that the values of the postrevolutionary nation, tradition, and cinema have been proficient not just via Islam but in addition via Persian traditions. Naficy examines documentary movies made to checklist occasions sooner than, 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. some 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 motion pictures commensurate with Islamicate values. Filmmakers and entertainers have been thrown out of the undefined, exiled, imprisoned, or even finished. but, out of this innovative turmoil, a unprecedented Islamicate cinema and movie tradition emerged. Naficy strains its improvement and explains how Iran's lengthy conflict with Iraq, the gendered segregation of house, and the imposition of the veil on ladies inspired yes ideological and aesthetic tendencies in movie and comparable media. eventually, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the recent evolving cinema.
A Social historical past 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 info for A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984
However, the culture the state has promulgated is not strictly “Islamic,” emanating directly from the core precepts of Islam. Instead, it is based on the specific traditions of Persia, associated not only with Islam, but also with other ethnoreligious peoples on the Iranian plateau. ” This is not to belittle Islam’s enormous historical contribution to Iranian culture, but to recognize the mutual contributions of Iranian culture and Islam to each other. As Marshall Hodgson formulated it, “Islamicate” refers not directly to Islam as religion, but to the “social and cultural complex historically associated with Islam and the Muslims, both among Muslims themselves and even when found among non-Â�Muslims” (1974:59).
Courtesy of Masud Mehrabi and Film International. emas into a key symbolic act against the Shah, during whose reign, as Ayatollah Khomeini claimed, Western sex and violence had turned the movies into an imperialist technology to “spray poison,” corrupting people’s minds and values (1981b:188). Some postrevolution fiction films featured Rex Cinema in their narratives, notably Khosrow Sinai’s city film, In the Alleys of Love (Dar Kuchehha-Â�ye Eshq, 1990), in which a young man returns to his hometown of Abadan after the war, but is undecided about whether to resettle there (fig.
What needed to be done was to evacuate cinema of its corrupt idols (stars, personnel, genres) and to replace them with upright, moral, Islamicate ones. When Hojjatoleslam Mohammad Khatami was elected president, in 1997, in a landslide, more Western and modernist formulations found their way into the official Islamicate values. 16 Most important, these collectively introduced the concept of individuality—Â�individual choice, sovereignty, and autonomy—Â�which had been missing from earlier formulations of Islamicate values.
A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 by Hamid Naficy