By Hamid Naficy
In Volume 3, Naficy assesses the profound results of the Islamic Revolution on Iran's cinema and picture undefined. through the ebook, 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 educated not just via Islam but additionally by way of Persian traditions. Naficy examines documentary movies made to list occasions sooner than, in the course of, and within the fast aftermath of the revolution. He describes how convinced associations and members, together with prerevolutionary cinema and filmmakers, have been linked to the Pahlavi regime, the West, and modernity and hence perceived as corrupt and immoral. a few of the nation's moviehouses have been burned down. Prerevolutionary movies 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 carried out. but, out of this innovative turmoil, a rare Islamicate cinema and movie tradition emerged. Naficy lines its improvement and explains how Iran's lengthy struggle with Iraq, the gendered segregation of house, and the imposition of the veil on girls inspired convinced 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 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
Several others were sentenced to jail terms. Indicative of the confusion, sloppiness, and behind-Â�the-Â�scenes political corruption, four people condemned to death—Â�all police and security personnel—Â�managed to escape and remained at large. 23 In addition, several alleged co-Â�conspirators were not only not tried, but also were later rewarded with official government positions. For example, Mahmud Rashidian, the former governor of Khuzestan Province, who was presumably related to the notorious Rashidian brothers—Â�film exhibitors and owners of Rex Cinema-Â�Theater in Tehran, who were involved in the 1953 coup against Mosaddeq—Â�was elected to the MajÂ� les in Tehran; Mahmud Abolpur, a teacher, was appointed head of Abadan school district; and Abdollah Lorqaba, an employee of Iran National Airlines who had apparently supplied the jet fuel to the arsonists, became a member of the Islamic society of Abadan Airport.
The same medium whose corrupting, poisonous, and immoral products had been employed to discredit and dismantle the Pahlavi regime was now deployed to legitimize the new Islamist regime. This was a new example of the classic violence waged between idolaters and iconoclasts. Having declared the Pahlavi regime and its culture of spectacle, including cinema, as idolatrous justified the violent exercise of iconoclasm that followed. However, the purpose of iconoclasm is never solely to destroy existing idols, but to replace them with new ones that are more to the taste of the new order (Morgan 2005:117).
24 The volume of religious programming on national television increased exponentially, as did the screening of serious, high-Â�quality commercial movies. These measures proved to be too little and too late to redress the critical situation. Instead, they speeded up the pace of demonstrations and their vehemence. 25 The police and security forces had some success in preventing the destruction of these establishments. In late August, for example, timely action by police in the city of Yazd scared off arsonists, who had released flammable gas from canisters inside Shahr-Â�e Farang Cinema, before they had a chance to set it on fire.
A Social History of Iranian Cinema, Volume 3: The Islamicate Period, 1978–1984 by Hamid Naficy