A social history of Iranian cinema

著者

書誌事項

A social history of Iranian cinema

Hamid Naficy

Duke University Press, 2011-2012

  • v. 1 : pbk
  • v. 2 : pbk
  • v. 3 : pbk
  • v. 4 : pbk

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注記

Includes bibliographical references and indexes

v. 1. The artisanal era, 1897-1941 -- v. 2. The industrializing years, 1941-1978 -- v. 3. The Islamicate period, 1978-1984 -- v. 4. The globalizing era, 1984-2010

内容説明・目次

巻冊次

v. 2 : pbk ISBN 9780822347743

内容説明

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 Cinema 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

目次

List of Illustrations ix Acknowledgments xiii Organization of the Volumes xxi A Word about Illustrations xxvii List of Abbreviations xxix 1. International Haggling over Iranian Public Screens 1 2. The Statist Documentary Cinema and Its Alternatives 49 3. Commercial Cinema's Evolution: From Artisanal Mode to Hybrid Production 147 4. Family Melodramas and Comedies: The Stewpot Movie Genre 197 5. Males, Masculinity, and Power: The Tough-Guy Movie Genre and Its Evolution 261 6. A Dissident Cinema: New-Wave Films and the End of an Era 325 Notes 433 Bibliography 473 Index 497
巻冊次

v. 3 : pbk ISBN 9780822348771

内容説明

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. In Volume 3, Naficy assesses the profound effects of the Islamic Revolution on Iran's cinema and film industry. Throughout the book, he uses the term Islamicate, rather than Islamic, to indicate that the values of the postrevolutionary state, culture, and cinema were informed not only by Islam but also by Persian traditions. Naficy examines documentary films made to record events prior to, during, and in the immediate aftermath of the revolution. He describes how certain institutions and individuals, including prerevolutionary cinema and filmmakers, were associated with the Pahlavi regime, the West, and modernity and therefore perceived as corrupt and immoral. Many of the nation's moviehouses were burned down. Prerevolutionary films were subject to strict review and often banned, to be replaced with films commensurate with Islamicate values. Filmmakers and entertainers were thrown out of the industry, exiled, imprisoned, and even executed. Yet, out of this revolutionary turmoil, an extraordinary Islamicate cinema and film culture emerged. Naficy traces its development and explains how Iran's long war with Iraq, the gendered segregation of space, and the imposition of the veil on women encouraged certain ideological and aesthetic trends in film and related media. Finally, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the new evolving cinema. A Social History of Iranian Cinema 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

目次

Illustrations ix Acknowledgments xiii Organization of the Volumes xxi A Word about Illustrations xxvii Abbreviations xxix 1. Transition from "Cinema of Idolatry" to "Islamicate Cinema" 1 2. Documenting the Uprising, the Revolution, and the Emerging Opposition 47 3. Consolidating a New "Islamicate" Cinema and Film Culture 115 Appendix 189 Notes 195 Bibliography 217 Index 235
巻冊次

v. 4 : pbk ISBN 9780822348788

内容説明

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 Cinema 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

目次

Illustrations xi Acknowledgments xv Organization of the Volumes xxi A Word about Illustrations xxvii Abbreviations xxix 1. The Resurgence of Nonfiction Cinema: Postrevolutionary Documentaries and Fiction War Films 1 2. Under Cover, on Screen: Women's Representation and Women's Cinema 92 3. All Certainties Melt into Thin Air: Art-House Cinema, a "Postal" Cinema 175 4. Emergent Contestatory Films, Media Culture, and Public Diplomacy 269 5. Iranian, but with a Different Accent: A Cinema of Displacement or a Displaced Cinema? 369 Appendix A: Iranian Films in Distribution 513 Appendix B: Film House of Iran's Film Collection 515 Appendix C: International Film and Video Center Iranian Film Collection 520 Notes 523 Bibliography 559 Index 591

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