A Social History of Iranian Cinema: The Industrializing Years, 1941–1978

Research output: Book/ReportBook

Abstract

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.
Original languageEnglish
PublisherDuke University Press Books
Volume2
Edition1
ISBN (Print)0822347741
StatePublished - 2011

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Social History
Cinema
Movies
Waves
Filmmaker
Modernist
Criticism
Second World War
Melodrama
Censorship
Documentary
Iran
Writer
Industry
Authoritarianism
Patronage
Dissent
Prophet Muhammad
Plot

Cite this

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abstract = "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.",
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A Social History of Iranian Cinema : The Industrializing Years, 1941–1978. / Naficy, Hamid.

1 ed. Duke University Press Books, 2011.

Research output: Book/ReportBook

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