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May 13, 2024 · 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.
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In this way, the history of cinema in Iran can be divided into four distinct periods, from the Qajar era to the first Pahlavi period (1900–1941), the second Pahlavi era (1942–1979), the postrevolutionary era with the Islamization of Iranian cinema (1980–1988), and the emergence of the New Iranian Cinema (1990s and early 2000s).
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In addition to art, literature, historiography, and anthropology, the topic of cinema and media studies held a prominent place in those discussions, as befits its international status and recognition—the late director Abbas Kiarostami once half-jokingly described cinema, along with oil, carpets, and pistachios, as one of Iran’s major exports.
Oct 30, 2023 · However, in the 1990s, Iran’s filmmaking industry emerged as one of the finest in the world, with globally recognized film festivals like the Fajr Film Festival. An integral part of Iran’s cinematic history was shaped following the year 1979.
- Art of Ambiguity
- Trying to Islamize Art
- New Round of Factionalism
- Cinema as Social Critique
- Medium For Reconciliation
- Endnotes
Before the 1979 revolution, the clerics in Iran rejected cinema, or at best ignored it. Films were among the forms of art considered forbidden (haram), and for many pious families going to the cinema was tantamount to committing a sin. The main reason for this was that cinematic representations of women and love upset the delicate dualism which had...
The three phases of the relationship between cinema and the state correspond to socio-political phases of the Islamic Republic. The first phase, now referred to as the First Republic, lasted for a decade, beginning with the creation of the Islamic state. “Liberals” and “moderates” confronted “radicals” and “militants”; the latter, supported by Ayat...
The end of the war with Iraq in 1988 and Ayatollah Khomeini’s death in 1989 brought about a shift in the power structure. With Ayatollah Ali Khamene’i as Supreme Leader and Ali Akbar Hashemi-Rafsanjani as president, a new phase started, referred to as “reconstruction” and marked by an increased tension between the different visions of Islam and bet...
But it was too late. The old taboo topics of women and love had already come out of the shadows. Mohsen Makhmalbaf’s film A Time to Love (1991) marked the beginning of a new approach. It dealt with the forbidden subject of a love triangle (one woman, two men), and the relativity of human conditions and judgments. A Time to Love was shocking, not on...
With Khatami’s unexpected election, the MCIG was freed from the control of those (now called “conservatives”) who still adhere to a feqh-based definition of social reality, and came under the control of “reformists” who advocate more tolerant cultural polices. This new phase — a “Third Republic” — has brought a breakthrough for Iranian film, with w...
Sussan Siavoshi, “Cultural Policies and the Islamic Republic: Cinema and Book Publication,” International Journal of Middle East Studies 29 (1997), p. 509. Peter Chelkowski, ed., Ta’ziyeh: Ritual and Drama in Iran (New York: New York University Press, 1979). Afsaneh Najmabadi, “Reading for Gender through Qajar Paintings,” in Layla Diba, ed., Royal ...
Jan 31, 2024 · on Jan 31, 2024. Ehsan Khoshbakht. Starting with a packed house on the night of October 13 and concluding right after Thanksgiving, MoMA showcased “Iranian Cinema before the Revolution, 1925–1979,” the largest retrospective of Iranian cinema ever held inside or outside of Iran. With close to 70 films covering the pre-revolutionary period ...
Nov 22, 2023 · Cinema often became a vessel for state propaganda rather than independent artistic expression. For example, the production of films with nationalist sentiments was celebrated by the regime during the Iran-Iraq War. A range of films fueling anti-American and anti-Israel sentiments continue to be awarded generous funding and state support.
