By Hamid Naficy
Hamid Naficy is among the world's top specialists on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. masking the past due 19th century to the early twenty-first and addressing documentaries, well known 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 id in Iran. This entire social heritage unfolds throughout 4 volumes, each one of that are liked on its own.
The remarkable efflorescence in Iranian movie, television, and the recent 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 struggle with Iraq; others critiqued postrevolution society. The powerful presence of ladies on reveal and at the back of the digicam ended in a dynamic women's cinema. A dissident art-house cinema—involving the very best 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 grew to become a contested web site of public international relations because the Islamic Republic regime in addition to overseas governments opposed to it sought to harness Iranian pop culture and media towards their very own ends, inside and outdoors of Iran. The wide overseas move of movies made in Iran and its diaspora, the large dispersion of media-savvy filmmakers in another country, 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
5 Local, regional, national, and international documentary festivals occurred not only in Tehran but also in other places, including on Kish Island. The technological revolution of the early twenty-first century enabled a vital documentary cinema, as well as a new generation of young cinephiles. The ready availability of inexpensive but high-quality production and editing equipment, such as Hi8 and digital cameras, and sophisticated desktop and laptop editing software both enhanced the quality of the films and encouraged bolder formal and thematic approaches to the documentary.
Iranians in the diaspora turned to documentaries with a vengeance, producing scores of films, often focusing on their traumas of displacement and dramas of identity deformation, both personal and national. 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).
Some of the films were not new and half of them had been screened in the Fajr International Film Festival. The failure of war movies seems clear. 14 There are many reasons for the poor quality. Most of the directors of war films were young and inexperienced. Making war movies constituted their training. The movies concentrated on the fighting and disregarded the home front. They missed chances to tell individual war soldiers’ and commanders’ dramatic life stories and failed to recount decisive war operations, such as the siege of Abadan or the defeat of the enemy in Khorramshahr (Farasati 2004/1382:14).
A Social History of Iranian Cinema: Volume 4 - The Globalizing Era by Hamid Naficy