By Hamid Naficy
Volume 1 depicts and analyzes the early years of Iranian cinema. movie used to be brought in Iran in 1900, 3 years after the country’s first advertisement movie exhibitor observed the recent medium in nice Britain. An artisanal cinema backed by way of the ruling shahs and different elites quickly emerged. The presence of girls, either at the display and in motion picture homes, proved arguable until eventually 1925, whilst Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling till 1941, Reza Shah applied a Westernization software meant to unite, modernize, and secularize his multicultural, multilingual, and multiethnic nation. Cinematic representations of a fast-modernizing Iran have been inspired, the veil was once outlawed, and dandies flourished. even as, images, motion picture construction, and film homes have been tightly managed. movie creation finally proved marginal to country formation. simply 4 silent function movies have been produced in Iran; of the 5 Persian-language sound gains proven within the kingdom earlier than 1941, 4 have been made through an Iranian expatriate in India.
A Social historical past 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
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Hamid Naficy is likely one of the world’s top specialists on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. protecting the past due 19th century to the early twenty-first and addressing documentaries, renowned genres, and artwork movies, it explains Iran’s unusual cinematic creation modes, in addition to the position of cinema and media in shaping modernity and a contemporary nationwide identification in Iran.
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Additional resources for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941
Me, myself, I, he—all of me—were now here in the West at once, with no media-created distance separating us. But unity, wholeness, and ease proved elusive because of the ruptures of exile and modernity—and, besides, a switch was taking place. Another elsewhere, another Other, was now looming large, making me ill at ease again. I am speaking of home, against which I had begun to define myself anew. With one exception, all the films and videos I made at ucla were psychological, surreal, abstract, and dystopic, expressing the various anxieties, disruptions, and displacements of modernity and exile I was experiencing— and was later to theorize.
S. government’s anticommunist Cold War project, extensively discussed in the present book. As an elementary school student in an experimental “model school” (Dabestan-e Nemuneh), planned and funded by the Point 4 Program of the United States ho w it all began xlv Information Agency (usia), I was exposed to many of these films on a regular basis. Every Thursday afternoon (the day before the weekend), a green mobile film unit—a Jeep station wagon—would drive into our schoolyard. A young Iranian wearing a gray suit and tie, the driver who doubled as the projectionist, would emerge to set up his portable screen and 16mm Bell & Howell projector in our assembly hall.
6 Each of my reviews begins with a title closely resembling the actual film title and ends with a large “The End” (payan). The teacher’s brief comments appear at the bottom of a few of my reviews, in fact strict plot summaries (figure 16). The absence of personal opinion on my part may be interpreted in different ways: I was a child, too inexperienced and shy to express critical judgment about movies in writing; or I was applying a subconscious strategy of resistance, a refusal to make the 180-degree interpellative turn to become the subject of the Western Other.
A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 by Hamid Naficy