By Hamid Naficy
Volume 1 depicts and analyzes the early years of Iranian cinema. movie was once 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 through the ruling shahs and different elites quickly emerged. The presence of girls, either at the display and in motion picture homes, proved debatable till 1925, whilst Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until eventually 1941, Reza Shah applied a Westernization software meant to unite, modernize, and secularize his multicultural, multilingual, and multiethnic state. Cinematic representations of a fast-modernizing Iran have been inspired, the veil used to be outlawed, and dandies flourished. while, images, motion picture construction, and film homes have been tightly managed. movie creation finally proved marginal to nation formation. simply 4 silent function movies have been produced in Iran; of the 5 Persian-language sound positive factors proven within the kingdom earlier than 1941, 4 have been made via an Iranian expatriate in India.
A Social historical past of Iranian Cinema
Volume 1: The Artisanal period, 1897–1941
Volume 2: The Industrializing Years, 1941–1978
Volume three: The Islamicate interval, 1978–1984
Volume four: The Globalizing period, 1984–2010
Read or Download A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 PDF
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Extra resources for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941
The political and ideological divisions within the family further exacerbated the actions of the repressive states. This politicization of the family intellectuals and cultural producers and the terrible toll it took was emblematic of the whole country. My much younger brother Said was arrested in 1973 along with my uncle Mohammad Naficy, the former editor of Call of Science, and my cousin Ali Naficy. They were tortured and imprisoned for two, four, and five years, respectively. When Said and others were arrested lii ho w i t al l b eg a n because of antigovernment activities, including the distribution of leaflets, my parents immediately threw their manual Olympia typewriter, which he may have used to write the leaflets, into a well in the yard that supplied the water to the pool.
It is not my autobiography or my family’s history, but a cultural autobiography about my contentious love affair—and that of other Iranians—with cinema, Iran, and the West. As such it offers a microcosmic perspective on Iranian culture and society during the second Pahlavi period and its transition to the Islamic Republic. I watched Western movies, made films, and taught and wrote about cinema. My affair with cinema began early with a fascination with photography and translations of Western novels, adapted to the screen.
Both the religious and some secular elites opposed moviegoing on religious and moral grounds. The penalty for intransigence varied. For example, in 1951, my then teenage uncles Reza and Hosain, who were under the guardianship of their older brother Karim, received beatings from him for going to the movies. I remember Karim punishing Hosain on an otherwise beautiful autumn afternoon under the grape arbor of my paternal grandmother’s house. He was lashing Hosain with a long, lean branch of the plum tree, which he had earlier soaked in the yard pool.
A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 by Hamid Naficy