By Hamid Naficy
Hamid Naficy is among the world's major gurus on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. masking the past due 19th century to the early twenty-first and addressing documentaries, well known genres, and artwork motion pictures, it explains Iran's strange cinematic construction modes, in addition to the position of cinema and media in shaping modernity and a contemporary nationwide id in Iran. This entire social background unfolds throughout 4 volumes, each one of that are liked on its own.
The remarkable efflorescence in Iranian movie, television, and the hot media because the consolidation of the Islamic Revolution animates quantity four. in this time, documentary motion pictures proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year struggle with Iraq; others critiqued postrevolution society. The powerful presence of ladies on monitor and in the back of the digital camera ended in a dynamic women's cinema. A dissident art-house cinema—involving the superior Pahlavi-era new-wave administrators and a more youthful new release of cutting edge postrevolution directors—placed Iranian cinema at the map of global cinemas, bringing status to Iranians at domestic and out of the country. A fight over cinema, media, tradition, and, eventually, the legitimacy of the Islamic Republic, emerged and intensified. The media turned a contested web site of public international relations because the Islamic Republic regime in addition to international governments adverse to it sought to harness Iranian pop culture and media towards their very own ends, inside and out of doors of Iran. The large foreign movement of flicks made in Iran and its diaspora, the monstrous dispersion of media-savvy filmmakers overseas, and new filmmaking and verbal exchange applied sciences helped to globalize Iranian cinema.
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Extra resources for A Social History of Iranian Cinema: Volume 4 - The Globalizing Era
In due course, the sacredness of the war with Iraq and of Avini’s status as its ardent chronicler underwent reevaluation and revision. By 2010, dvds of his Chronicle of Victory series were harder to find in Iranian video stores. Bajoghli quotes a prominent writer and cultural producer of war-related materials commenting on the possible reissue of the series, stating that, “We have to take off Avini’s narrations from his films if we reissue these because this generation doesn’t understand these narrations and doesn’t even like it.
In addition, war movies engendered sacred subjectivity, driven variously by the immanent awe produced by being in the presence of the sacred, by the mystical identification with the sacred, and by the haptic annihilation in the sacred and the beloved— variously coded as God, Shiite imams, Ayatollah Khomeini, fellow fighters, and the nation—all of which deepened identificatory fusion. What made the films of Jihad tv stand out, in particular those of the Chronicle of Victory in which Avini had a hand, was their promotion of multiple sa20 T he G lobalizi ng Era cred subjectivities on behalf of the warriors who were filmed, the cameramen who filmed them, and the spectators who watched them.
Jihad tv was productive. In ten years it produced for national broadcast a massive series of half-hour films collectively called the Chronicle of Victory (Ravayat-e Fath). Aired in five series from 1985 to 1992, each series contained between eleven and fourteen films (figure 3). 24 In addition, Jihad tv produced series about rebellions inside Iran, such as Six Days in Turkmen Sahra (Shesh Ruz dar Torkaman Sahra, 1980), about the Turkmen rebellion in the north; Hand-Picked by the Khans (Khan Gozidehha, 1980), in six parts directed by Avini, about the oppression of Qashqai tribes in the southwest by their chiefs Naser Khan and Khosrow Khan, who were allegedly colluding with foreign powers to destabilize the iri regime; Triumph of Blood (Fath-e Khun, 1981), a three-part film about the war of cities; and Truth (Haqiqat, 1985), an eleven- 14 T he G lobalizi ng Era part series about the first two years of the war with Iraq in Abadan, Susangerd, and Dezful.