By Hamid Naficy
The awesome efflorescence in Iranian movie, television, and the recent media because the consolidation of the Islamic Revolution animates Volume 4. in this time, documentary motion pictures proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year battle with Iraq; others critiqued postrevolution society. The powerful presence of girls on reveal and in the back of the digital camera resulted 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 worldwide cinemas, bringing status to Iranians at domestic and in another country. 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 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 movement of movies made in Iran and its diaspora, the colossal dispersion of media-savvy filmmakers in a foreign country, and new filmmaking and communique applied sciences helped to globalize Iranian cinema.
A Social heritage 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
Read Online or Download A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010 PDF
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Extra info for A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010
Because of the shortage of both raw stock and funds, it took the mcig and the private sector some time to mobilize the film industry. The Foundation of the Dispossessed (fod), the Basij Corps, and the Islamic Art and Thought Center of the Islamic Propaganda Organization redirected their resources to covering the war. The mcig and the fcf sent crews to the front, and the vvir created war units for its newscasts and documentary programs. Attempts were made to screen war films at the front. The 6 T he G lobalizi ng Era Table 1 Organizations contributing films to the Imposed War Film Festival, 1983 Producing Organization Voice and Vision (tv networks) Documentary Fiction 14 2 Armed Forces’ Ideological-Political Bureau 1 0 Islamic Propaganda Organization 2 0 Center for Intellectual Development of Children and Young Adults 3 1 Ministry of Culture and Islamic Guidance 0 2 Islamic Center for Artistic and Cinematic Studies 0 2 Islamic Center for Amateur Filmmaking 0 2 Revolutionary Guards tv Unit 2 0 War Propaganda Organization 1 0 Islamic Art and Thought Bureau 1 0 Private Sector 0 2 24 11 Total Source: Adapted from Nuri and Ashuri 1983 mcig’s mobile film units showed shorts, documentaries, and features to the fighters.
As Avini told it, personnel came to the unit not because they were assigned, or to earn more, but because they were fired by the same revolutionary ardor that motivated frontline fighters. Their primary motivation was ideological: “If they were not willing to die, the best film directors of the world could not be useful to, or be respected by, us” (Avini 1992b:41). His own brief life exemplified the spirituality of and receptivity to martyrdom that he admired and preached (figure 1). Modern Subjectivity versus Sacred Subjectivity Martyrdom—self-sacrifice for the collective or religious good; self-annihilation, immersion, and union of the self with God or with a beloved—all of these seem contrary to modernity’s individuality.
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. Iranian blogs also proliferated, some of them dealing with cinema. Like fiction cinema, documentary cinema became transnational. It took two forms: extraterritorial documentaries, filming outside the country by Iran- based filmmakers, particularly in the Middle East; and accented documentaries, production, coproduction, and exhibition of documentaries by Iranians in the diaspora.