By Hamid Naficy
The impressive efflorescence in Iranian movie, television, and the hot media because the consolidation of the Islamic Revolution animates Volume 4. in this time, documentary movies proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year battle with Iraq; others critiqued postrevolution society. The robust presence of girls on monitor and in the back of the digicam resulted in a dynamic women's cinema. A dissident art-house cinema—involving the superior Pahlavi-era new-wave administrators and a more youthful new release of cutting edge postrevolution directors—placed Iranian cinema at the map of worldwide cinemas, bringing status to Iranians at domestic and in a foreign country. A fight over cinema, media, tradition, and, finally, the legitimacy of the Islamic Republic, emerged and intensified. The media turned a contested website of public international relations because the Islamic Republic regime in addition to overseas governments opposed to it sought to harness Iranian pop culture and media towards their very own ends, inside and outdoors of Iran. The wide overseas flow of movies made in Iran and its diaspora, the giant dispersion of media-savvy filmmakers in another country, and new filmmaking and conversation applied sciences helped to globalize Iranian cinema.
A Social background 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 Online or Download A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010 PDF
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Extra info for A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010
Likewise, a film is the result of the filmmaker’s inspiration. However, if one entirely immerses oneself in God, then God will inspire his works and appear in them. ” 23 Authorship is thus immersive, always already collective, not individualistic. Because of its philosophical and mystical underpinnings, some consider Avini’s films to constitute a “cinema of illumination” (Madadpur 2005/1384). An episode of Avini’s documentary war series Chronicle of Victory, entitled “Oshlu” (1987, directed by Avini), demonstrates such immersive sacred subjectivity and collective identity that are conducive to martyrdom.
Regular unit members were a cameraman- director-interviewer, an assistant cameraman, a soundman, and, in later years, a still photographer. The stills that unit photographers took were incorporated into the resulting documentaries, adding aesthetic punctuation to moving images. Often the editor was someone not involved in filming. The marks of television news reportage—hand microphones, news questions by in-frame reporters—were minimized, as were news-camera moves like zoom-ins. The idea was for the cameraman to become one with the subject, as part of the politics and poetics of a collective, sacred subjectivity.
It is likely that the creation of these two professional entities bolstered the documentary field and increased publication of books on the documentary. 5 Local, regional, national, and international documentary festivals occurred not only in Tehran but also in other places, including on Kish Island. The technological revolution of the early twenty-first century enabled a vital documentary cinema, as well as a new generation of young cinephiles. The ready availability of inexpensive but high-quality production and editing equipment, such as Hi8 and digital cameras, and sophisticated desktop and laptop editing software both enhanced the quality of the films and encouraged bolder formal and thematic approaches to the documentary.