A Social History of Iranian Cinema: The Globalizing Era, 1984–2010

Research output: Book/ReportBook

Abstract

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.
Original languageEnglish
PublisherDuke University Press Books
Volume4
Edition1
ISBN (Print)0822348780
StatePublished - 2012

Fingerprint

Social History
Cinema
Filmmaker
Iran
Revolution
Media Culture
Popular Culture
Legitimacy
Art House
Communication Technologies
Documentary Film
New Media
Waves
Government
Consolidation
Public Diplomacy
Iraq
Harness
Dissidents
Filmmaking

Cite this

@book{cf48f045f9fb4cf78be3534119655b51,
title = "A Social History of Iranian Cinema: The Globalizing Era, 1984–2010",
abstract = "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.",
author = "Hamid Naficy",
year = "2012",
language = "English",
isbn = "0822348780",
volume = "4",
publisher = "Duke University Press Books",
edition = "1",

}

Naficy, H 2012, A Social History of Iranian Cinema: The Globalizing Era, 1984–2010. vol. 4, 1 edn, Duke University Press Books.

A Social History of Iranian Cinema : The Globalizing Era, 1984–2010. / Naficy, Hamid.

1 ed. Duke University Press Books, 2012.

Research output: Book/ReportBook

TY - BOOK

T1 - A Social History of Iranian Cinema

T2 - The Globalizing Era, 1984–2010

AU - Naficy, Hamid

PY - 2012

Y1 - 2012

N2 - 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.

AB - 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.

M3 - Book

SN - 0822348780

VL - 4

BT - A Social History of Iranian Cinema

PB - Duke University Press Books

ER -