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Hamid Naficy's A Social History of Iranian Cinema, Volume 2: The PDF

By Hamid Naficy

ISBN-10: 0822347741

ISBN-13: 9780822347743

Hamid Naficy is likely one of the world’s prime experts on Iranian movie, and A Social historical past of Iranian Cinema is his magnum opus. protecting the overdue 19th century to the early twenty-first and addressing documentaries, well known genres, and artwork movies, it explains Iran’s strange cinematic construction modes, in addition to the position of cinema and media in shaping modernity and a latest nationwide id in Iran. This entire social historical past unfolds throughout 4 volumes, every one of that are liked on its own.

Volume 2 spans the interval of Mohammad Reza Shah’s rule, from 1941 till 1978. in this time Iranian cinema flourished and have become industrialized, at its peak generating greater than 90 movies every year. The country used to be instrumental in construction the infrastructures of the cinema and tv industries, and it instituted an enormous gear of censorship and patronage. through the moment international battle the Allied powers competed to regulate the films proven in Iran. within the following a long time, distinctive indigenous cinemas emerged. The extra renowned, conventional, and advertisement filmfarsi videos incorporated tough-guy movies and the “stewpot” style of melodrama, with plots reflecting the swift alterations in Iranian society. The new-wave cinema used to be a smaller yet extra influential cinema of dissent, made usually by way of foreign-trained filmmakers and modernist writers against the regime. sarcastically, the kingdom either funded and censored a lot of the new-wave cinema, which grew bolder in its feedback as kingdom authoritarianism consolidated. an essential documentary cinema additionally constructed within the prerevolutionary period.

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Additional resources for A Social History of Iranian Cinema, Volume 2: The Industrializing Years

Sample text

Cook herself owned the rights to fifty-­t wo Disney mov‑ ies, which she wanted to show via the nefc. Iran Cinema made another novel and grandiose proposal, this time to cre‑ ate a network of at least three hundred 16mm “little cinemas” in towns and villages that up to then had never seen movies. ”17 Cook actively championed Iran Cin‑ ema’s proposal in American diplomatic, military, and commercial circles. S. S. 18 In addition to a desire for more diverse programming, there were reasons i nter natio nal haggling 11 for suggesting that 35mm Hollywood movies be added.

Sovkino op‑ erated at least one commercial theater in Tehran, Setareh (Star) Cinema, and one in Rasht, Homay Cinema. 35 Soviet films were screened regularly in the commercial cinemas of Teh‑ ran and in those of large provincial cities (Mashhad, Ahvaz, Isfahan) and of small towns (Borujerd). In February of 1942 (Esfand 1321), one such movie house in the capital city, Tehran Cinema, showed Soviet newsreels to which the Soviet ambassador and the Soviet military attaché in Iran invited domestic and foreign diplomats and dignitaries.

Of 464 periodicals published in Iran between 1941 and 1947, only 41 had been in existence at the time of the invasion. These periodicals were published in eight languages: 433 in Persian, 10 in Turkish, 7 in Polish, 5 in Armenian, 3 in Kurdish, 3 in French, 2 in English, and 1 in Russian. The majority served as mouthpieces of various political factions, providing less information than the representation of sectarian views in the marketplace of ideas. Eighteen of the periodicals were published by foreign occupying powers: seven Polish, six Soviet, four British, and one American (McFarland 1981:158).

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A Social History of Iranian Cinema, Volume 2: The Industrializing Years by Hamid Naficy


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