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  1. Apr 18, 2016 · A brief history of Iranian cinema. by Vandad Zamaani. To best understand the roots of Iranian cinema, one must perhaps travel back to the early 20 th century, when the Qajar monarch Mozaffareddin Shah was shown cinematographic footage during a visit to France. The cinematograph, invented in 1892, was the successor to the kinetoscope that granted viewers the ability to watch quality, illuminated images on a screen, as opposed to through Thomas Edison’s ‘peephole’.

    • Contemporary Iranian Cinema
    • Influence of Iranians on Others' New Wave Films
    • Music in Iranian Cinema
    • Iranian International Film Festivals
    • International Recognition of Iranian Cinema
    • Censorship
    • Cinemapeople in The Iranian Diaspora
    • Film Institutes in Iran
    • Iranian Film Critics
    • See Also

    Today, the Iranian box office is dominated by commercial Iranian films. Western films are occasionally shown in movie theaters. and contemporary Hollywood productions are shown on state television. Iranian art films are often not screened officially, and are viewable via unlicensed DVDs which are available. Some of these acclaimed films were screened in Iran and had box office success. Examples include Rassul Sadr Ameli's "I’m Taraneh, 15", Rakhshan Bani-Etemad's "Under the skin of the City", Bahman Ghobadi's "Marooned in Iraq" and Manijeh Hekmat's "Women's Prison".

    Amongst the pioneers of French New Wave were François Truffaut, Jean-Luc Godard, Claude Chabrol and Eric Rohmer or Barbet Schroeder (born in Tehran, Iran in 1941 where his German geologist Father was on assignment). During the first half of the 20th century, France was the major destination for Iranian students who wished to study abroad. Iranian Ambassador to the United Nations Fereydoun Hoveyda was one of them. Fereydoun Hoveyda played a major role in French cultural scene and especially in the field of Cinema, for he was the protégé of François Truffaut whom he befriended and with whom he helped create the well-known film magazine Les Cahiers du Cinéma that spearheaded the French Nouvelle Vague or New Wave Cinema. He also worked closely with Italian film director Roberto Rossellini on several film scripts during that period. Fereydoun Hoveyda was not the only Iranian of his generation to play an active role in promoting the French Cinéma d'Auteur. Youssef Ishaghpouris another exa...

    Although Iranian composers usually have their own special style and music structure, they all share one thing: melodic, lively rhythms. That might be because they often begin with folkloric songs and shift to film music. In the past few decades, a few composers have emerged in the Iranian cinema with highly appraised works. Composers like Hormoz Farhat, Morteza Hannaneh, Fariborz Lachini, Ahmad Pejman, Majid Entezami, Babak Bayat, Karen Homayounfar, Naser Cheshmazar and Hossein Alizadehwere some of the most successful score composers for Iranian films in the past decades.

    Film festivals have a rather long history in Iran that goes back to the 1950s. The first Tehran International Film Festival opened in April 1973. Although the festival never reached the level of Cannes and Venice, however, it managed to become well known as a class A festival. It was a highly reputable festival and many well-known filmmakers took part in it with their films. Great filmmakers such as Francesco Rosi, Michelangelo Antonioni Grigori Kozintsev, Elizabeth Taylor, Pietro Germi, Nikita Mikhalkov, Krzysztof Zanussi, Martin Rittwon the festival's awards.

    Here is a list of Grand prizes awarded to Iranian cinema by the most prestigious film festivals:Iranian serials are very popular in the region

    Although the Iranian film industry is flourishing, its filmmakers have operated under censorship rules, both before and after the revolution. Some Iranian films that have been internationally acclaimed are banned in Iran itself. Conversely, some Iranian filmmakers have faced hostility in other countries.

    Cinemapeople in the Iranian diaspora, such as Shohreh Aghdashloo, Zuleikha Robinson, Nadia Bjorlin, Shirin Neshat, Adrian Pasdar, Amir Mokri, Bahar Soomekh, Amir Talai Catherine Bell, Nazanin Boniadi, Samira Makhmalbaf, Freema Agyeman, Sarah Shahi, Hughes brothers, Nasim Pedrad, Daryush Shokof, and Farhad Safiniaare also popular.

    Several institutes, both government run and private, provide formal education in various aspects of filmmaking. Some of the prominent ones include: Farabi Cinema Foundation, Hedayat Film Co, Sourehcinema, Documentary & Experimental Film Center, Filmiran, Kanoon Iran Novin, Boshra Film, Bamdad Film, TDH Film, Hilaj Film, Tgpco, Karname, Rasaneha, Nama Film company, AvinyFilm, 7spfs and Honar Aval.

    Most famous of them like: Houshang Golmakani, Fereydoun Jeyrani, Parviz Davaei, Massoud Farasati, Abbas Baharloo, Hamid Reza Sadr, Cyrus Ghani, Javad Toosi, Negar Mottahedeh, Ahmad Talebinejad, Mohammad Tahami Nezhad, Ali Moallem and Parviz Nouri , behrouz sebt rasoul

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  3. Jul 19, 2020 · She is the author of Iranian Cosmopolitanism: A Cinematic History, published by Cambridge University Press in 2019. Dr. Rekabtalaei traces how the diverse ethnic, linguistic, and religious backgrounds of cinematographers, cinema owners, and cinema goers shaped Iran’s urban culture and its citizenry’s understanding of modernity.

  4. May 20, 2021 · Hamid Naficy is one of the world's leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran.

    • An Amorphous Genre and Era
    • Rising from The Ashes
    • Let’s Talk About Sex
    • Nationalistic Fervor
    • Lessons from Filmfarsi

    “Filmfarsi” is an amorphous term that describes slapdash Iranian films put together before the 1979 Islamic Revolution. There’s no singular type of Filmfarsi story, but what unites these films is a spirit of hasty improvisation, low production value and exaggerated performance. However, Filmfarsi narratives usually reverted to some form of exploitation-tinged melodrama, with an ever-changing cast of one-dimensional archetypes. This hastiness helped Filmfarsi become prolific. During the 1970s, nearly 100 Filmfarsi titles were made every year; this sheer scale makes Filmfarsi’s contemporary obscurity all the more tragic. Khoshbakht is somewhat dismissive about Filmfarsi initially, mocking it in his film’s earlier sections. However, he also sees its symbolic importance, and explores why and how such objectively bad exploitation cinema became a key reflection of Iran’s twentieth century national identity.

    Filmfarsithe film opens with the Cinema Rex fire, which killed 337 people in the Iranian city of Abadan. The fire occurred on August 19, 1978, the 25th anniversary of the coup that toppled democratically elected Prime Minister Mohammad Mossadeqand installed Mohammed Reza Pahlavi, the last Shah of Iran. This blaze was, symbolically, the death of Iran’s Movie Theater Age. Using this “death” as his starting point, Khoshbakht uses Filmfarsi—which he believes to be equally a genre and a cinematic era—to map the history of Iran from revolution to coup and back to revolution again. At first, only Iran’s royal family could watch movies. Then the 1905-1911 Constitutional Revolutionhappened, and cinema became democratized. Filmfarsi slowly emerged to fill in the void. While scorned for its shoddy production value, it provided a popular alternative to state-approved media—a way for Iranians to see their own stories on the big screen. The Filmfarsi genre grew to inadvertently address some of th...

    A large section of Filmfarsifocuses on changes in gender politics and roles. At first, the Filmfarsi genre offeredliberal portrayals of sex and nudity to appeal to the masses. However, to appease the changing national mood in the leadup to 1979’s Islamic revolution, Filmfarsi showed the same sexually liberated women that it once admired as sinners, who could only find redemption through marriage and embracing the Islamic faith. With men, earlier Filmfarsi titles focused on “traditional” ideals of masculinity that drew on classical literature. Two common character archetypes were the historically-influenced Pahlevanand the more contemporary Jahel.Both embodied brute violence, and were overbearingly homophobic and misogynistic. To quote Khoshbakht, they “[lived] in a world of repressed homoeroticism.”

    Khoshbakht also shows how gender and sex flowed into cinematic portrayals of Iran’s relationship to the West. Sometimes, these “relationships” took physical form. There were more than a few examples of films where Western women seduced Iranian men—perhaps a reflection of Iran’s political tie-upswith Western countries like the UK. This obsession with the West went far beyond a rather simplistic view towards women though. Filmfarsi was obsessed with copying Western filmmakers and genres, remaking the works of Fellini, Hitchock, and Billy Wilder with a distinctly Iranian flavor. There were quasi-Westerns, Bollywood-style musical scenes awkwardly inserted in where they didn’t belong, and an overall lack of confidence in Iran’s national cinema. As 20th century Iran vacillated between West and East, modernity and tradition, these films seemed to mirror Iranians’ state of mind. Had the Constitutional Revolution been enough to modernize Iran? Were people satisfied with the Shah’s pro-Wester...

    From the fatwa against Satanic Versesauthor Salman Rushdieto the imprisonment of director Jafar Panahi, Iran’s current leadership has made their stance on any level of subversive culture very clear. Somehow, in spite of this, the Iranian New Wavemovement endured, producing some of the world’s most beloved and well-respected films. It’s easy for Filmfarsi to get lost outside the Iranian New Wave’s spotlight. However, Khoshbakht pushes back. Filmfarsithe movie’s grand thesis suggests that those both inside and outside of Iran have ignored a vital element of Iran’s national narrative never bothering to look at Filmfarsi the genre. Most of these films may not be well-made, or stand the test of time like Close-Up, A Separation, or The White Balloon, but the Filmfarsi genre’s ability to reflect popular sentiment makes it an excellent primer on twentieth century Iran. • • • Filmfarsi—Iran, United Kingdom. Dialog in English and Farsi. Directed by Ehsan Khoshbakht. Running time 1 hr 24 min....

    • Oscar Harding
  5. The history of cinema and documentary in Iran was started in the court of squirarchy. Aside from the opening of cinema to the public in Iran in Tabriz in 1900 and Tehran in 1904--the first available document about documentary film coincides with the first camera purchased by the Qajar king, five years after the invention of the cinematograph, in June 1900.

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