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Popular Iranian Cinema before the Revolution
Critics and academics have generally dismissed the commercial productions of the late Pahlavi era, best known for their songs and melodramatic plots, as shallow, derivative ‘entertainment’. Instead, they have concentrated on the more recent internationally acclaimed art films, claiming that these constitute Iranian ‘national' cinema, despite few Iranians having seen them. Film discourse, and even fan talk, have long attempted to marginalize the mainstream releases of the 1960s and 1970s with the moniker filmfarsi, ironically asserting that such popular favorites were culturally inauthentic. This book challenges the idea that filmfarsi is detached from the past and present of Iranians. ...
The I.B. Tauris Handbook of Iranian Cinema
This volume brings together scholarship from both established scholars and early career academics to provide fresh insights and new research on the cinema of Iran. The book is organised around eight broad themes including cinema before and after the revolution, stylistic innovation, documentary, gender, and genre. Encompassing a diverse range of methodological approaches and disciplinary frameworks including film studies, cultural studies, and political economy, each chapter is a self-contained study on a specific topic engaging with the national and transnational history of Iranian cinema which combined provide readers with original new insights into Iranian film and filmmakers, from fictio...
Counter-Memories in Iranian Cinema
Farid ad-Din-e ?Attar's Persian folk tale The Conference of the Birds relates the quest by thousands of pilgrim birds for an ideal king, the mythical bird called Simorgh. At the end of the quest, the surviving birds recognise that the longed-for king is nothing other than the reflection of their own existence. But what about those other birds that were not able to become part of the final representation? This groundbreaking book calls them 'counter-memories'; memories that are barred from hegemonic history, but are, nevertheless present in cinematic forms. Due to the strategic and artistic interventions of a range of Iranian filmmakers, such as Abbas Kiarostami and Shahram Mokri, Ali Hatami and Tahmineh Milani, Kianoush Ayari and Rakshan Banietemad, the history of post-revolutionary Iranian Cinema is also structured by counter-memories, with the potential to destabilise officially fabricated success stories of revolution, war and sacred defence. Counter-Memories in Iranian Cinema establishes a new framework for understanding the tensions between censorship and resistance, helping to carve out resistant points of remembering both within and outside state-controlled cinema.
South Asia Bulletin
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IBSS: Sociology: 2009 Vol. 59
First published in 2010. Routledge is an imprint of Taylor & Francis, an informa company.
Popular Film and the National Imagination in Pahlavi Iran
Unfortunately, much of what has been published heretofore on the history of commercial cinema in the Pahlavi era is not only in Persian but is often also more chronicle than history. Virtually all critiques of filmfarsi (again, largely in Persian) have analyzed the films and audiences in terms of Iranian sociology and psychology, with little attention paid to history. This study views filmfarsi as not just a "mirror" on Iranian society or on the minds of certain Iranians. Rather, it considers the films as part of a complex of practices that draw on and make up Iranian social and intellectual history. Such an approach also ensures that these films, their concerns, and techniques are not merely seen as some "irrelevant" aspect of the past but in dialogue with the popular cinema and national life even today.
Index Islamicus
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עיונים בתקומת ישראל
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