Social History of Iranian Cinema, Volume 4 , livre ebook

666

pages

English

Ebooks

2012

Écrit par
Naficy Hamid Naficy

Publié par
Duke University Press

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666

pages

English

Ebooks

2012

Lire un extrait

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

Publié par

Duke University Press

Date de parution

06 novembre 2012

Nombre de lectures

EAN13

9780822393542

Langue

English

Poids de l'ouvrage

6 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.The extraordinary efflorescence in Iranian film, TV, and the new media since the consolidation of the Islamic Revolution animates Volume 4. During this time, documentary films proliferated. Many filmmakers took as their subject the revolution and the bloody eight-year war with Iraq; others critiqued postrevolution society. The strong presence of women on screen and behind the camera led to a dynamic women's cinema. A dissident art-house cinema-involving some of the best Pahlavi-era new-wave directors and a younger generation of innovative postrevolution directors-placed Iranian cinema on the map of world cinemas, bringing prestige to Iranians at home and abroad. A struggle over cinema, media, culture, and, ultimately, the legitimacy of the Islamic Republic, emerged and intensified. The media became a contested site of public diplomacy as the Islamic Republic regime as well as foreign governments antagonistic to it sought to harness Iranian popular culture and media toward their own ends, within and outside of Iran. The broad international circulation of films made in Iran and its diaspora, the vast dispersion of media-savvy filmmakers abroad, and new filmmaking and communication technologies helped to globalize Iranian cinema.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

06 novembre 2012

Nombre de lectures

EAN13

9780822393542

Langue

English

Poids de l'ouvrage

6 Mo

A S o c î A  H î S t o r y o F î r A n î A n c î n e m A

Volûe 1: The Aîŝààl Eà, 1897–1941

Volûe 2: The ïûŝîàlîzîg Yeàŝ, 1941–1978

Volûe 3: The ïŝlàîçàe Peîo, 1978–1984

Volûe 4: The Gloàlîzîg Eà, 1984–2010

PrAîSe ForA Soçîàl Hîŝoy o ïàîà Cîeà

“hà NàIç ŝ àéà éŝàŝé àŝ é ôé ô ŝôàŝ à ççŝ ô ïàà çéà. Bàŝé ô ŝ éé ûéŝà ô ôé ïàà ôçà à ŝôçà ŝô, ŝ éàé ççà ŝô ô ïà’ŝ çéà ŝçé ŝ ôû ŝ ŝ çô àçééé. Tô ŝà à  ŝ à ûŝ-éà ô ûà à çôçéé  ôé ïàà ŝô, à ô jûŝ çéà à é àŝ, ŝ ô ŝàé é ôôûŝ.” —HomA K AtouzîAn, àûô ô The Peŝîàŝ: Açîe, Meîàevàl, à Moe ïà

“Tŝ àŝéà ôû-ôûé ŝû ô ïàà çéà  é é éI ô ô é ôç ô à ô é ô çôé. sûà I  ŝ ŝôçôô-çà çôéx, hà NàIç çôéŝ é éô éà û ô é Côŝûôà Réôûô à çôûéŝ àé é ïŝàç Réôûô, éxà qûéŝôŝ àôû ôé, ôààô, ïŝà, à éŝ àô é à.A Soçîàl Hîŝoy o ïàîà Cîeàŝ à ûé ô ôû  àôû çéà à ŝôçé à é àŝ à é çéàé éxéŝŝô ô I ŝôû é éxàé àŝ à ô à é éàéé  ŝôçà ŝŝûéŝ.” —AnnAbee Srebern y, çôàûô ô Blogîŝà: The ïee à Polîîçŝ î ïà

“A Soçîàl Hîŝoy o ïàîà Cîeàŝ à éxàôà àçééé, à ŝçô-à, éàé ô  ç à àŝŝé àôû ô àéà ŝ àé  é éŝ ôûç. Yé  ŝ hà NàIç’ŝ éŝôà éxééçé à éŝé à é ŝ ôjéç à àçûà ŝçô. O à ŝé ŝôà, ôé ô ŝ ô é ŝé ô ŝ ŝô, çôû çôé ŝô  é ŝôç ŝIçàçé ô çéà ô éé-çéû ïà à ŝ éé é  àôà çûûé à ôçŝ.” —muvey Aur A , àûô ô Deàh 24x à Seço: Sîlleŝŝ à he Movîg ïàge

“hà NàIç ŝéàéŝŝ ŝ ôéé à çéû ô ïà’ŝ çéàç ŝô, à ŝ éçôôçà ààçééŝ à à ééŝ à ŝôé éçqûéŝ, à éçéé àéŝŝ ŝ ŝôçôôçà àç ô é ôàô ô ïà’ŝ àôà é.A Soçîàl Hîŝoy o ïàîà Cîeàŝ éŝŝéà éà ô ô ô é çéé ééŝé  ïà’ŝ ûqûé à ç çéàç ŝô û àŝô ô àôé à à ééé ûéŝà ô é çààçŝç ééŝ à éàôôŝéŝ à àé ŝàé ïà, ô é ôà Côŝûôà Réôûô à ûŝéé  é éé çéû ôû é ïŝàç Réôûô, à ô é é-Iŝ çéû.” —SHîrîn neSHAt, ŝûà àŝ, Iàé, à éçô ô é IWoe Wîhoû Me

A Soçîàl Hîŝoy o ïàîà Cîeà v o u m e 4

Hàî NàIçy

A S o c î A  H î S t or yoF î r A n î A n c î n e m A

Volûe 4

Té Gôà Eà, 1984–2010

Dûé Uéŝ péŝŝ Dûà à ôô 2012

a ŝ éŝéé

pé  é Ué sàéŝ ô aéçà ô àç-éé àé∞

Déŝé  Jûé aé

Téŝé  sçàà  BW&a Bôôŝ, ïç.

à ô Côéŝŝ Cààô--pûçàô Dàà àéà ô

é àŝ é àé ô ŝ ôô.

Dûé Uéŝ péŝŝ àéû àçôééŝ é ŝûô ô

é sçôô ô Côûçàô à Nôéŝé Uéŝ,

Nôéŝé Uéŝ  Qàà, à é sçôô ô hûàéŝ

à Rçé Uéŝ, ç ôé ûŝ ôà é ôûçô

ô ŝ ôô.

To y àeŝ,Bàûl Okhovà à Aûoà NàIçy,who îŝîlle î e he love àleàŝûe o kowlege à he àŝ.

To y çoûy o îh, ïà,à îŝ exàoîày çûlûe à hîŝoy.

To y àoe çoûy, he Ûîe Sàeŝ, à îŝ çheîŝhe eoçàîç îeàlŝ.

c on t e n t S

ïûŝàôŝ, x açôééŝ, x Oààô ô é Vôûéŝ, xx a Wô àôû ïûŝàôŝ, xx aéàôŝ, xxx 1Réŝûéçé ô NôIçô Céà: pôŝéôûôà Té Dôçûéàéŝ à çô Wà ŝ,1 2 Ué Côé, ô sçéé: Wôé’ŝ Rééŝéàô à Wôé’ŝ Céà,93 3 a Céàéŝ Mé ô T a: a-hôûŝé Céà, à “pôŝà” Céà,175 4 Eéé Côéŝàô ŝ, Méà Cûûé, à pûç Dôàç,269 5 ïàà, û  à Dféé aççé: a Céà ô Dŝàçéé ô à Dŝàçé Céà?369

aéx a: ïàà ŝ  Dŝûô (ç. 2005), 513 aéx B:  hôûŝé ô ïà’ŝ  Côéçô, 517 aéx C: ïéàôà  à Véô Céé ïàà  Côéçô, 520 Nôéŝ, 523 Bôà, 559 ïéx, 591

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