By Hamid Naficy
Hamid Naficy is among the world's best professionals on Iranian movie, and A Social historical past 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 bizarre cinematic creation modes, in addition to the position of cinema and media in shaping modernity and a contemporary nationwide identification in Iran. This accomplished social historical past unfolds throughout 4 volumes, every one of that are 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 warfare with Iraq; others critiqued postrevolution society. The robust 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 new release of cutting edge postrevolution directors—placed Iranian cinema at the map of global cinemas, bringing status to Iranians at domestic and overseas. A fight over cinema, media, tradition, and, eventually, 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 international governments hostile to it sought to harness Iranian pop culture and media towards their very own ends, inside of and outdoors of Iran. The huge foreign stream of movies made in Iran and its diaspora, the gigantic dispersion of media-savvy filmmakers overseas, and new filmmaking and conversation applied sciences helped to globalize Iranian cinema.
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Additional resources for A Social History of Iranian Cinema: Volume 4 - The Globalizing Era
The footage was sent to the Basij militia headquarters for processing, and it is unlikely that many of the crew members saw the rushes they filmed in the war. To ensure the security of missions, not much of the vast amount of footage was 10 T he G lobalizi ng Era turned into completed films or shown publicly. However, it was screened privately to some military units and authorities. Apparently, the conditions under which this footage is stored are dismal and it is fast deteriorating (Sadri 1995/1374:44).
The emergence of the Internet, with its vast resources of information and connectivity as well as its gargantuan capacity for the posting, linking, exhibiting, distributing, archiving, marketing, blogging, uploading, downloading, and streaming of audiovisual materials opened hitherto unthinkable possibilities, expanding documentarists’ horizons far beyond domestic and niche markets. Despite government attempts to limit the use of the Internet, particularly during the retrenchment era of Mahmoud Ahmadinejad’s presidency, Iranians of all kinds flocked to it, making Iran one of the most connected countries in the region.
Both new and reinstated nonfiction filmmakers made many films supported by state-r un institutions. These included the Ministry of Culture and Islamic Guidance (mcig) and its subsidiaries—the Young People’s Cinema Society, the Center for the Development of Documentary and Experimental Films, and the Farabi Cinema Foundation (fcf)—as well as the Center for the Intellectual Development of Children and Young Adults (cidcya) and the Voice and Vision of the Islamic Republic (vvir, aka irib). Major heavy industries, such as steel, automobile, oil, and gas, commissioned documentaries, as did the newly created Kish Island and Qeshm Island “free-trade zones” in the Persian Gulf, which turned to documentaries to promote tourism.
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