Hamid Naficy's A Social History of Iranian Cinema, Volume 1: The Artisanal PDF

By Hamid Naficy

ISBN-10: 082234775X

ISBN-13: 9780822347750

Hamid Naficy is likely one of the world’s top gurus on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. protecting the overdue 19th century to the early twenty-first and addressing documentaries, renowned genres, and paintings movies, it explains Iran’s abnormal cinematic construction modes, in addition to the position of cinema and media in shaping modernity and a latest nationwide identification in Iran. This accomplished social historical past unfolds throughout 4 volumes, each one of that are liked on its own.

Volume 1 depicts and analyzes the early years of Iranian cinema. movie used to be brought in Iran in 1900, 3 years after the country’s first advertisement movie exhibitor observed the hot medium in nice Britain. An artisanal cinema subsidized by way of the ruling shahs and different elites quickly emerged. The presence of ladies, either at the reveal and in motion picture homes, proved arguable until eventually 1925, while Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling till 1941, Reza Shah applied a Westernization software meant to unite, modernize, and secularize his multicultural, multilingual, and multiethnic kingdom. Cinematic representations of a fast-modernizing Iran have been inspired, the veil was once outlawed, and dandies flourished. even as, images, motion picture construction, and film homes have been tightly managed. movie creation eventually proved marginal to nation formation. simply 4 silent characteristic motion pictures have been produced in Iran; of the 5 Persian-language sound gains proven within the state prior to 1941, 4 have been made through an Iranian expatriate in India.

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Extra resources for A Social History of Iranian Cinema, Volume 1: The Artisanal Era

Sample text

Frame enlargements, taken directly from films or videos, offer visuals for textual analyses of the films’ aesthetic and generic systems. Posters offer not only an encapsulated rendition of the film by artists other than filmmakers but also showcase the art of poster design and production, which form important components of the movies’ publicity, exhibition, and reception. Like the movies themselves, this art also evolved over time, an evolution discernable in the posters included in the present volumes.

Saeb society members attended meetings in a room in the garden of the tomb of the famed poet Saeb Isfahani and went to the countryside to read and interpret modern poetry and literary works all day, with breaks for lunch, play, and literary gossip. Older members like Jalil Doostkhah and Hushang Golshiri took the lead and mentored the younger ones. 3 In one of the society’s public night sessions, I read a polemical rant against a famous traditional town poet (I think it was Shakib-e Isfahani) all the while trembling with fear of being arrested by the Savak (secret police).

The final nail in the coffin of the library came when one night I and Nooshin, my youngest sister whose cute baby pictures I had taken only a few years before, fearing that the Ibn Sina patrons’ ledger may incriminate the family, wrapped it in layers of plastic for safekeeping and buried it deep under a plum tree in the yard in our Bagh Jennat house. The familial purge took private turns as well. I burned a suitcase full of letters that I had written to my parents during the many years I had spent abroad, brokenhearted at the loss.

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A Social History of Iranian Cinema, Volume 1: The Artisanal Era by Hamid Naficy

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