Social History of Iranian Cinema, Volume 2 , livre ebook

560

pages

English

Ebooks

2011

Écrit par
Naficy Hamid Naficy

Publié par
Duke University Press

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560

pages

English

Ebooks

2011

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Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Duke University Press

Date de parution

16 septembre 2011

Nombre de lectures

EAN13

9780822393016

Langue

English

Poids de l'ouvrage

4 Mo

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. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.Volume 2 spans the period of Mohammad Reza Shah's rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the "stewpot" genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era.A Social History of Iranian CinemaVolume 1: The Artisanal Era, 1897-1941Volume 2: The Industrializing Years, 1941-1978Volume 3: The Islamicate Period, 1978-1984Volume 4: The Globalizing Era, 1984-2010

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Publié par

Duke University Press

Date de parution

16 septembre 2011

Nombre de lectures

EAN13

9780822393016

Langue

English

Poids de l'ouvrage

4 Mo

a s o c i a l h i s t or y of i r a n i a n c i n e m a

Volume 1: The Artisanal Era, 1897–1941

Volume 2: The Industrializing Years, 1941–1978

Volume 3: The Islamicate Period, 1978–1984

Volume 4: The Globalizing Era, 1984–2010

praise forA Social History of Iranian Cinema

“Hamid Naﬁcy is already established as the doyen of historians and critics of Iranian cinema. Based on his deep understanding of modern Iranian political and social history, this detailed critical history of Iran’s cinema since its found ing is his crowning achievement. To say that it is a mustread for virtually all concerned with modern Iranian history, and not just cinema and the arts, is to state the obvious.” —atouzianhoma k , author of The Persians: Ancient, Mediaeval and Modern Iran

“This magisterial fourvolume study of Iranian cinema will be the deﬁning work on the topic for a long time to come. Situating ﬁlm within its sociopoliti cal context, Hamid Naﬁcy covers the period leading up to the Constitutional Revolution and continues after the Islamic Revolution, examining questions about modernity, globalization, Islam, and feminism along the way.A Social History of Iranian Cinemais a guide for our thinking about cinema and society and the ways that the creative expression of ﬁlm should be examined as part of a wider engagement with social issues.” —annabelle sreberny, coauthor of Blogistan: The Internet and Politics in Iran

“A Social History of Iranian Cinemais an extraordinary achievement, a schol arly, detailed work in which a massive amount of material is handled with the lightest touch. Yet it is Hamid Naﬁcy’s personal experience and investment that give this project a particular distinction. Only a skilled historian, one who is on the inside of his story, could convey so vividly the symbolic signiﬁcance of cinema for twentiethcentury Iran and its deep intertwining with national cultureandpolitics.” —mulveyl aur a , author of Death 24×a Second: Stillness and the Moving Image

“Hamid Naﬁcy seamlessly brings together a century of Iran’s cinematic history, marking its technological advancements and varying genres and story telling techniques, and perceptively addressing its sociopolitical impact on the formation of Iran’s national identity.A Social History of Iranian Cinemais essential reading not only for the cinephile interested in Iran’s unique and rich cinematic history but also for anyone wanting a deeper understanding of the cataclysmic events and metamorphoses that have shaped Iran, from the pivotal Constitutional Revolution that ushered in the twentieth century through the Islamic Revolution, and into the twentyﬁrst century.” —shirin neshat, visual artist, ﬁlmmaker, and director of the ﬁlmWomen Without Men

A Social History of Iranian Cinema v olu m e 2

Hamid Naﬁcy

a s o c i a l h i s t or yof ir a n i a n c i n e m a

Volume 2

The Industrializing Years, 1941–1978

Duke University Press Durham and London 2011

Printed in the United States of America on acidfree paper∞

Designed and typeset in Scala by Julie Allred, BW&A Books, Inc.

Library of Congress CataloginginPublication Data appear on

the last printed page of this book.

Duke University Press gratefully acknowledges the support of

the School of Communication at Northwestern University,

Northwestern University in Qatar, and the School of Humanities

at Rice University, which provided funds toward the production

of this book.

To my parents,who instilled in me the love andpleasure of knowledge and arts

To my country of birth, Iran,and its extraordinary culture and history

To my adopted country, the United States,and its cherished democratic ideals

con t en t s

Illustrations, ix Acknowledgments, xiii Organization of the Volumes, xxi A Word about Illustrations, xxvii Abbreviations, xxix 1International Haggling over Iranian Public Screens,1 2The Statist Documentary Cinema and Its Alternatives,49 3Commercial Cinema’s Evolution:From Artisanal Mode to Hybrid Production, 147 4Family Melodramas and Comedies: The Stewpot Movie Genre, 197 5Males, Masculinity, and Power: The ToughGuy Movie Genre and Its Evolution, 261

6A Dissident Cinema:NewWave Films and the End of an Era, 325 Notes, 433 Bibliography, 473 Index, 497

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