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By Hamid Naficy

Hamid Naficy is likely one of the world's major professionals on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. overlaying the past due 19th century to the early twenty-first and addressing documentaries, renowned genres, and paintings motion pictures, it explains Iran's strange cinematic creation modes, in addition to the function of cinema and media in shaping modernity and a latest nationwide identification in Iran. This complete social historical past unfolds throughout 4 volumes, every one of which are favored on its own.

The amazing efflorescence in Iranian movie, television, and the hot media because the consolidation of the Islamic Revolution animates quantity four. in this time, documentary movies proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year struggle with Iraq; others critiqued postrevolution society. The robust presence of girls on display and in the back of the digicam resulted in a dynamic women's cinema. A dissident art-house cinema—involving the superior Pahlavi-era new-wave administrators and a more youthful new release of leading edge postrevolution directors—placed Iranian cinema at the map of worldwide cinemas, bringing status to Iranians at domestic and in a foreign 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 opposed to it sought to harness Iranian pop culture and media towards their very own ends, inside of and out of doors of Iran. The huge foreign flow of flicks made in Iran and its diaspora, the sizeable dispersion of media-savvy filmmakers out of the country, and new filmmaking and communique applied sciences helped to globalize Iranian cinema.

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Extra resources for A Social History of Iranian Cinema: Volume 4 - The Globalizing Era

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Even if the filmmakers were inclined to show these psychological states, they are disarmed by the fact of martyrdom. This fed into the wartime tendency to stereotype, in documentaries as well as in features (in the war films after the end of the war, more variation crept in). Jihad tv was productive. In ten years it produced for national broadcast a massive series of half-­hour films collectively called the Chronicle of Victory (Ravayat-­e Fath). Aired in five series from 1985 to 1992, each series contained between eleven and fourteen films (figure 3).

It deals with the various “martyrs” of the Al-­Mahdi Army who fought in the Valfajr operations, including the Karbala 4 Operation. In one sequence, the camera focuses on a group of teenage soldiers eating a meal in a dirt field (figure 2). Soon, this simple, worldly scene is transformed into a powerful philosophical one. ” The series’ title, Chronicle of Victory/ Ravayat-e Fath, is superimposed on his image. Frame enlargement. ” Another soldier decides to mock television reporters by taking up a microphone and trying to interview his cohorts.

12 This reflected only the official view, for neither film-­ industry professionals nor spectators shared it. ” 13 That audiences were turned off of these films’ low quality and strident rhetoric was evident from both their low turnout and their walkouts at the war film festival screenings in 1982. The reduced number of films entered into the 1984 festival indicates the filmmakers’ low interest in war films. Compared to thirty-­five films in the 1983 festival (twenty-­four documentaries and eleven fiction films), only twenty-­one films were screened in 1984 (fifteen documentaries and shorts and six fiction films).

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