A Social History of Iranian Cinema, Volume 2: The by Hamid Naficy

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By Hamid Naficy

Hamid Naficy is likely one of the world’s top gurus on Iranian movie, and A Social historical past 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 abnormal cinematic creation modes, in addition to the position of cinema and media in shaping modernity and a latest nationwide identification in Iran. This finished social heritage unfolds throughout 4 volumes, every one of which might be favored on its own.

Volume 2 spans the interval of Mohammad Reza Shah’s rule, from 1941 until eventually 1978. in this time Iranian cinema flourished and have become industrialized, at its peak generating greater than 90 movies every year. The nation was once instrumental in development the infrastructures of the cinema and tv industries, and it instituted an enormous equipment of censorship and patronage. through the moment international warfare the Allied powers competed to manage the flicks proven in Iran. within the following a long time, special indigenous cinemas emerged. The extra renowned, conventional, and advertisement filmfarsi videos integrated tough-guy motion pictures and the “stewpot” style of melodrama, with plots reflecting the swift alterations in Iranian society. The new-wave cinema was once a smaller yet extra influential cinema of dissent, made quite often by means of foreign-trained filmmakers and modernist writers against the regime. mockingly, the kingdom either funded and censored a lot of the new-wave cinema, which grew bolder in its feedback as kingdom authoritarianism consolidated. an essential documentary cinema additionally built within the prerevolutionary period.

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In April 1943, Iran Cinema showed a documentary about Iran, which the Soviet Union’s press attaché in Tehran had organized, an event that was attended by the prime minister, the leader of the parlia‑ ment, the court minister, and other dignitaries and members of the press. Af‑ ter official speeches in Russian and Persian and the screening of a short film about the battle of Stalingrad (perhaps the same one as that shown at Tehran Cinema), the film about Iran was shown. Directed by Iosif Poselski, the film, which Ettela’at Haftegi (Weekly Information) called Manazer‑e Iran (Views of Iran, 1941) had been shot during the Second World War, and it showed not only the country’s natural scenery but also its historical monuments, its ar‑ tistic achievements, and scenes from modern cities (Tehran, Mashhad, Shi‑ raz, Isfahan) with their new educational, cultural, sports, and public health centers and modern avenues and palaces, including those of the Shah and i nter natio nal haggling 19 his family.

The release of the notorious Group-­53, consisting of fifty-­t hree communists and intellectuals, led to the formation of the Tudeh (Mass) Party in 1941, perhaps the most intellectually exciting and socially powerful political party. And it was under the sponsorship of the Iran-­Soviet Cultural Relations Society that the first Congress of Iranian Writers took place in Tehran in 1946, featuring a who’s who of writers. S. ”39 Ervand Abrahamian’s figures corroborate the heavy representation of these strata in the Tudeh Party (1982:330–31).

18 In addition to a desire for more diverse programming, there were reasons i nter natio nal haggling 11 for suggesting that 35mm Hollywood movies be added. Films could subtly in‑ culcate an American lifestyle and values. The little cinemas could widen the reach and deepen the impact of these movies among the public at large. British Involvement: The British Council and the Anglo-­Persian Institute Britain established the Empire Marketing Board (emb) in 1926 to create a sense of unity throughout the empire and to revive imperial trade in vari‑ ous commodities in the colonies through propaganda including posters, pam‑ phlets, and exhibitions.

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