By Hamid Naficy
Hamid Naficy is without doubt one of the world's prime experts 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, well known genres, and artwork motion pictures, it explains Iran's atypical cinematic construction modes, in addition to the position of cinema and media in shaping modernity and a contemporary nationwide identification in Iran. This complete social background unfolds throughout 4 volumes, each one of which might be preferred on its own.
The outstanding efflorescence in Iranian movie, television, and the hot media because the consolidation of the Islamic Revolution animates quantity four. in this time, documentary motion pictures proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year struggle with Iraq; others critiqued postrevolution society. The robust presence of girls on monitor and at the back of the digicam 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 in a foreign 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 web site 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 of and out of doors of Iran. The wide foreign circulate of movies made in Iran and its diaspora, the immense dispersion of media-savvy filmmakers in a foreign country, and new filmmaking and communique applied sciences helped to globalize Iranian cinema.
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Extra info for A Social History of Iranian Cinema: Volume 4 - The Globalizing Era
Some documentarists had left the country: Ebrahim Golestan, Reza Allamehzadeh, Barbod Taheri, Parviz Kimiavi, and Manuchehr Tayyab (some later returned, such as Kimiavi and Tayyab). Those who stayed, such as Kamran Shirdel and Mohammad Tahaminejad, continued to make films for government agencies, major industries, and civic associations but many of their films—almost all of Tahaminejad’s—were banned. The resurgence of the documentary awaited new filmmakers, including women, and a generational change in the 1990s.
But all the war films contained trauma narratives about the losses and destructions of war and of childhood, loved ones, homes, hometowns, and homeland. The compulsion to repeat in these films is commensurate with the depth of the loss and its repression. At the same time, by featuring the technology, machinery, planning, strate gies, and tactics of war, the sheer destructiveness of war machinery and firepower, and the speed, noise, disruption, and movement characteristic of battlefields, the war movies—documentary and fictional alike—inscribed and projected modernity and its attributes.
By focusing on the psychology of individual soldiers, martyrs, and the wounded, and their families, they inscribed and encouraged modern subjectivities, even if in some cases these were configured as collective or sacred subjectivities. Finally, war modernized and enhanced the film industry’s capacities for specialized cinematography (aerial and underwater filming), for mise-en-scène (war-related set design, props, décor), and for creating special effects (demolition and explosion). The construction of the Sacred War Movie Town near Tehran further facilitated war-related filming (Jahed 2010).