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A Social History of Iranian Cinema, Volume 3 by Hamid Naficy Pdf
"Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, [this four-volume set] explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran."--Page 4 of cover.
A Social History of Iranian Cinema, Volume 1 by Hamid Naficy Pdf
DIVSocial history of Iranian cinema that explores cinema's role in creating national identity and contextualizes Iranian cinema within an international arena. The first volume focuses on silent era cinema and the transition to sound./div
A Social History of Iranian Cinema, Volume 4 by Hamid Naficy Pdf
In the fourth and final volume of A History of Iranian Cinema, Hamid Naficy looks at the extraordinary efflorescence in Iranian film and other visual media since the Islamic Revolution.
A Social History of Iranian Cinema, Volume 2 by Hamid Naficy Pdf
Social history of Iranian cinema that explores cinema's role in creating national identity and contextualizes Iranian cinema within an international arena.
Abbas Kiarostami planted Iran firmly on the map of world cinema when he won the Palme d'Or at the Cannes film festival for his film A Taste of Cherry in 1997. In this book Hamid Dabashi examines the growing reputation of Iranian cinema from its origins in the films of Kimiyai and Mehrjui, through the work of established directors such as Kiarostami, Beyzai and Bani-Etemad, to young filmmakers like Samira Makhmalbaf and Bahman Qobadi, who triumphed at the Cannes 2000 festival. Dabashi combines exclusive interviews with directors, detailed and insightful commentary, critical cultural context, an extensive filmography, and generous illustration to provide an indispensable guide to a globally celebrated but little-studied cinematic genre. Book jacket.
It is nearly impossible to separate contemporary Iranian cinema from the Islamic revolution that transformed film production in the country in the late 1970s. As the aims of the revolution shifted and hardened once Khomeini took power and as an eight-year war with Iraq dragged on, Iranian filmmakers confronted new restrictions. In the 1990s, however, the Reformist Movement, led by Mohammad Khatami, and the film industry, developed an unlikely partnership that moved audiences away from revolutionary ideas and toward a discourse of reform. In Reform Cinema in Iran, Blake Atwood examines how new industrial and aesthetic practices created a distinct cultural and political style in Iranian film between 1989 and 2007. Atwood analyzes a range of popular, art, and documentary films. He provides new readings of internationally recognized films such as Abbas Kiarostami's Taste of Cherry (1997) and Mohsen Makhmalbaf's Time for Love (1990), as well as those by Rakhshan Bani, Masud Kiami, and other key Iranian directors. At the same time, he also considers how filmmakers and the film industry were affected by larger political and religious trends that took shape during Mohammad Khatami's presidency (1997-2005). Atwood analyzes political speeches, religious sermons, and newspaper editorials and pays close attention to technological developments, particularly the rise of video, to determine their role in democratizing filmmaking and realizing the goals of political reform. He concludes with a look at the legacy of reform cinema, including films produced under Mahmoud Ahmadinejad, whose neoconservative discourse rejected the policies of reform that preceded him.
Following the 1979 Iranian Revolution, Iran’s film industry, in conforming to the Islamic Republic’s system of modesty, had to ensure that women on-screen were veiled from the view of men. This prevented Iranian filmmakers from making use of the desiring gaze, a staple cinematic system of looking. In Displaced Allegories Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found creative ground not in the negation of government regulations but in the camera’s adoption of the modest, averted gaze. In the process, the filmic techniques and cinematic technologies were gendered as feminine and the national cinema was produced as a woman’s cinema. Mottahedeh asserts that, in response to the prohibitions against the desiring look, a new narrative cinema emerged as the displaced allegory of the constraints on the post-Revolutionary Iranian film industry. Allegorical commentary was not developed in the explicit content of cinematic narratives but through formal innovations. Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’i, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post-Revolutionary Iranian films. She insists that such analyses of cinema’s visual codes and conventions are crucial to the study of international film. As Mottahedeh points out, the discipline of film studies has traditionally seen film as a medium that communicates globally because of its dependence on a (Hollywood) visual language assumed to be universal and legible across national boundaries. Displaced Allegories demonstrates that visual language is not necessarily universal; it is sometimes deeply informed by national culture and politics.
Directory of World Cinema: Iran 2 by Parviz Jahed Pdf
Working at the intersection of religion and ever-shifting political, economic and social environments, Iranian cinema has produced some of the most critically lauded films in the world today. The first volume in the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, New Wave, war film, art house film and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema and fans and aficionados of Iranian film. Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.
A Social History of Iranian Cinema by Hamid Naficy Pdf
Hamid Naficy is one of the world's leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.Volume 1 depicts and analyzes the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country's first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. The presence of women, both on the screen and in movie houses, proved controversial until 1925, when Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled. Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country before 1941, four were made by an Iranian expatriate in India.
Iranian Cinema in a Global Context by Peter Decherney,Blake Atwood Pdf
Iranian films have been the subject of much critical and scholarly attention over the past several decades, and Iranian filmmakers are mainstays of international film festivals. Yet most of the attention has been focused on a small segment of Iranian film production: auteurist art cinema. Iranian Cinema in a Global Context, on the other hand, takes account of the wide range of Iranian cinema, from popular youth films to low budget underground films. The volume also reassesses the global circulation of Iranian art cinema, looking at its reception at international festivals, in university curricula, and at the Academy Awards. A final theme of the volume explores the intersection between politics and film, with essays on post-Khatami reform influences, representations of ineffective drug policies, and the representation of Jewish characters in Iranian film. Taken together, the essays in this volume present a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.
Modern American Literature and Contemporary Iranian Cinema by Morteza Yazdanjoo Pdf
As an endeavor to contribute to the burgeoning field of comparative literature, this monograph addresses the dynamic yet understudied "intertextual dialogism" between modern American literature and contemporary Iranian Cinema, pinpointing how the latter appropriates and recontextualizes instances of the former to construct and inculcate vestiges of national/gender identity on the silver screen. Drawing on Louis Montrose’s catchphrase that Cultural Materialism foregrounds "the textuality of history, [and] the historicity of texts", this book contends that literary "texts" are synchronic artifacts prone to myriad intertextual and extra-textual readings and understandings, each historically conditioned. The recontextualization of Herzog, Franny and Zooey, The Glass Menagerie, A Streetcar Named Desire, and Death of a Salesman into contemporary Iran provides an intertextual avenue to delineate the textuality of history and the historicity of texts
In An Accented Cinema, Hamid Naficy offers an engaging overview of an important trend--the filmmaking of postcolonial, Third World, and other displaced individuals living in the West. How their personal experiences of exile or diaspora translate into cinema is a key focus of Naficy's work. Although the experience of expatriation varies greatly from one person to the next, the films themselves exhibit stylistic similarities, from their open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and transgression of identity. The author explores such features while considering the specific histories of individuals and groups that engender divergent experiences, institutions, and modes of cultural production and consumption. Treating creativity as a social practice, he demonstrates that the films are in dialogue not only with the home and host societies but also with audiences, many of whom are also situated astride cultures and whose desires and fears the filmmakers wish to express. Comparing these films to Hollywood films, Naficy calls them "accented." Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies.
