By Saeed Zeydabadi-Nejad
Iran has gone through huge social upheaval because the revolution and this has been mirrored in its cinema. Drawing on first-hand interviews and distinctive ethnographic research, this book explores how cinema is engaged within the dynamics of social swap in modern Iran. The author not just discusses the practices of rules and reception of movies from significant award profitable administrators but in addition vital mainstream filmmakers akin to Hatamikia and Tabizi. Contributing to ethnographic money owed of Iranian governance within the box of tradition, the booklet unearths the advanced behind-the-scenes negotiations among filmmakers and the gurus which represent a tremendous a part of the workings of movie censorship. The author lines the connection of Iranian cinema to contemporary social/political pursuits in Iran, specifically reformism and women’s stream, and shows how foreign acclaim has been instrumental in filmmakers’ engagement with concerns of political value in Iran. This book will be a precious instrument for classes on movie and media reviews, and should offer an important perception into Iranian cultural politics for college kids of cultural reports and anthropology, heart japanese and Iranian stories.
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Extra resources for The Politics of Iranian Cinema: Film and Society in the Islamic Republic (Iranian Studies)
Sample text
Many ofthefi lm efarsi included women without Islamic dress who sang and danced in cafes . There were also many scenes showing the consumption of alcohol . Some of the clergy perceived their mi ssion to be fighting back against the perceived ' moral decadence and unseemly social filth ' that fi l led the streets and was promoted i n film and tele vision (Abrahamian 1 9 8 2 : 474). During the Iranian revolution, 1 80 out of 4 3 6 Figure 2 . 1 Entrance t o what used t o b e F erdowsi C inema i n Mashhad which was destroyed in a fire during the revolution; photograph by the author.
7 An ' A ' rated film, for example, would receive preferential treatment such as higher ticket pri ces, screening during better periods at better cinemas . 8 The rating system was based on the three loosely defined criteri a of technical aspects, aesthetics and content. In terms of techniques of film making, for example, simultaneous sound recording was preferred to post-produc tion dubbing. As for aesthetics, innovation and experimentation were encouraged. What constituted better content was determined by ' closeness to the cultural currents ' within the Islamic Republic (Anon.
Encourage foreign cultural, economic and political influence contrary to the ' neither West nor East' policy of the Islamic Republic o f I ran express or di sclose anything that is against the interests and policies of the country which might be exploited by foreigners . A sub-clause declared that: The nezarat committee is respons ible to determine the regulations regarding the way women can appear in Irani an and foreign films in a way which would not be at variance with the high position of women, having in mind the shari'a laws.