By Hamid Naficy
Hamid Naficy is likely one of the world’s major specialists on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. overlaying the overdue 19th century to the early twenty-first and addressing documentaries, renowned genres, and paintings motion pictures, it explains Iran’s abnormal cinematic creation modes, in addition to the position of cinema and media in shaping modernity and a contemporary nationwide id in Iran. This accomplished social background unfolds throughout 4 volumes, each one of which are preferred on its own.
Volume 2 spans the interval of Mohammad Reza Shah’s rule, from 1941 till 1978. in this time Iranian cinema flourished and have become industrialized, at its peak generating greater than 90 movies every year. The kingdom was once instrumental in construction the infrastructures of the cinema and tv industries, and it instituted an enormous equipment of censorship and patronage. throughout the moment global battle the Allied powers competed to regulate the flicks proven in Iran. within the following many years, unique indigenous cinemas emerged. The extra well known, conventional, and advertisement filmfarsi video clips incorporated tough-guy motion pictures and the “stewpot” style of melodrama, with plots reflecting the swift alterations in Iranian society. The new-wave cinema used to be a smaller yet extra influential cinema of dissent, made more often than not by way of foreign-trained filmmakers and modernist writers against the regime. satirically, the nation either funded and censored a lot of the new-wave cinema, which grew bolder in its feedback as nation authoritarianism consolidated. a necessary documentary cinema additionally constructed within the prerevolutionary period.
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Extra resources for A Social History of Iranian Cinema, Volume 2: The Industrializing Years
She had “re‑ claimed” Hinduism, adopting the name Nagini, and spent some months in Mahatma Gandhi’s ashram, a controversial experience she wrote about mov‑ ingly in My Road to India (1939). She was a mysterious, multilingual hybrid who had lived in Greece, India, and Iran and who knew English, modern Greek, Italian, Turkish, Sanskrit, Hindi, and Persian. She converted to Islam, spent twelve years translating the Quran, and wrote an unpublished novel set in Iran. S. S. S. 6 Newspapers in the United States gave accounts of her exploits in Iran.
The Iran-Soviet Cultural Re‑ lations Society in 1944 had ambitious goals for film: the dissemination of Soviet educational films; the making of documentaries about Iranian arts, 18 i nt e r nat i o n a l ha g g li n g scenery, and social life to publicize the country’s “greatness” abroad; facilitat‑ ing the insertion into Soviet movies of historical and literary items related to Iran; the training of Iranian film actors; and the creation of the foundations for a film industry in Iran (Tahaminejad 2004a:35).
After requesting that his mobile film unit be repaired, the consul in Kermanshah reported that films on ag‑ ricultural, technical, medical, and textile themes were in particular demand. Likewise, the consul in Ahvaz, after reporting that citizens were “weary of war films,” suggested that technical and medical films be shown. Apparently, the film Surgery of Chest Diseases was in high demand in Ahvaz. 22 In cities where the Anglo-Persian Institute operated, film screenings gen‑ erally took place in small theaters on the premises.