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Iranian cinema has an extraordinary history that has been marked by religion and ever-shifting political, economic, and social environments. This addition to Intellect’s Directory of World Cinema series turns the spotlight on the award-winning cinema of that nation, with particular attention to the major movements, historical turning points, and prominent figures that have helped shape it. A wide range of genres are presented, including comedy, Film Farsi, new wave, children’s films, art house film, and women’s cinema. For the film studies scholar, students working on alternative or national cinema, or for all those who love Persian cinema and wish to learn more, Directory of World Cinema: Iran will be an essential companion to this prolific and prominent film industry.

Acknowledgements

Introduction by the Editor

Film of the Year: About Elly

Cinema and the Modern Idea: Interview with Jafar Panah

Renowned Directors

The emergence of cinema in Iran – Behrouz Turani

Film Farsi the mainstream cinema – Parviz Jahed T

he Forerunners of the New Wave Cinema in Iran – Parviz Jahed

The New Wave Movement – Saeed Aghighi

Post-revolutionary Melodrama – Taraneh Dadar

The New Art Films – Adam Bingham

The Cinema of War – Hamid Reza Sadr

The Image of Children – Fereshteh Shakib

Identity and Cultural differences – Michelle Langford

Sujets

Arts visuels

Cinéma

Cinema

Irán

Cinema of Iran

General officer

History of film

Art

General

Iran

Informations

Publié par	Intellect Books
Date de parution	09 janvier 2012
Nombre de lectures	0
EAN13	9781841505954
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Volume 10
DIRECTORY OF WORLD CINEMA IRAN
Edited by Parviz Jahed
First Published in the UK in 2012 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2012 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Publisher: May Yao
Publishing Manager: Melanie Marshall
Cover photo: About Elly, Cinema Mayak
Cover Design: Holly Rose
Copy Editor: Emma Rhys
Typesetting: Mac Style, Beverley, E. Yorkshire
Directory of World Cinema ISSN 2040-7971
Directory of World Cinema eISSN 2040-798X
Directory of World Cinema: Iran ISBN 978-1-84150-399-8
Directory of World Cinema: Iran eISBN 978-1-84150-595-4
CONTENTS
DIRECTORY OF WORLD CINEMA IRAN
Acknowledgements
Introduction by the Editor
Film of the Year
About Elly
Independent Cinema and Censorship in Iran
Interview with Jafar Panahi
Directors
The Emergence of Cinema in Iran
Essay
Reviews
Film Farsi as the Mainstream Cinema
Essay
Reviews
The Forerunners of the New Wave Cinema in Iran
Essay
Reviews
Iranian New Wave (1969-79)
Essay
Reviews
Melodrama in Post-Revolutionary Iranian Cinema
Essay
Reviews
Post-Revolutionary Art Cinema in Iran
Essay
Reviews
The Image of War in Iranian Cinema
Essay
Reviews
The Image of Children
Essay
Reviews
Cultural Diversity in Iranian Cinema
Essay
Reviews
Recommended Reading
Iranian Cinema Online
Test Your Knowledge
Notes on Contributors
Filmography
ACKNOWLEDGEMENTS
I was very excited to take on the responsibility of regional editor of Directory of World Cinema: Iran. It is a part of a major project at Intellect, covering cinema of the world from a national aspect, made with the intent of contributing to a more serious study of world cinema, and in this case, Iran. What I tried to do was compile the main framework of the whole project and to also outline the aims of the directory and its content.
The intention was to produce as much original work as possible as part of a fresh approach to writing about Iranian cinema, but a problem which arose with this was that certain films, particularly films which were made before the Iranian Islamic Revolution, were difficult to get a hold of, especially in reliable formats such as DVD, and so it was not possible for our contributors to review them, therefore I decided to reprint some reviews previously published in Iran, which have been collected from various sources. I wish to thank them for their kind permission.
It should also be noted that a large number of the original contributions were written in Farsi and had to be translated. Those with experience will know this is a time consuming process and one which is extremely challenging to get right. And I would like to thank our translators Arash Jalali and Leila Ataie for their vital work and diligence. A special thanks to Arash Jalali for the translation of most of the reviews and essays originally written in Farsi, and in particular the essay on Iranian New Wave Cinema written by Saeed Aghighi.
Another limitation, being the amount of space required to contain different aspects of Iranian cinema, meant selecting films and directors which best represent the overall qualities of a national cinema, and with the aim of not missing out anything important. Further volumes will be published consecutively, containing the important cinematic trends, films, and directors left out in this volume.
With the contributions of a wide spectrum of writers, including those working inside of Iran, presenting a view of this subject from the inside, as well as a number of film students studying Iranian cinema with a new academic approach, and a number of lecturers and film critics who have a vast level of understanding and deep knowledge of Iranian cinema and have written many essays, articles, and publications on different aspects of cinema in Iran, including Michelle Langford, Jonathan Rosenbaum and Michael Anderson. This creates a diverse and balanced view, comprising of an extraordinary range of outlooks towards the expansive world of Iranian cinema. I would like to thank all the contributors to this volume which, without their participation, could never have existed. I also wish to thank Jonathan Rosenbaum for letting me republish his insightful reviews previously published in the Chicago Reader, as well as allowing me to shorten them for the purposes of this book.
I am grateful to Masoud Yazdani the director of Intellect for head-starting this project and showing such enthusiasm and keenness for Iranian cinema. I would also like to thank the staff at Intellect, particularly May Yao, Jennifer Schivas and Melanie Marshall, for their invaluable support and help through the various stages, making it a truly collaborative process. And I am deeply grateful to my family: my wife Roya and my son Barbad, for their support, patience and inspiration.
And so I am optimistic that this book will serve as a helpful source, successful in filling the information gap that exists on Iranian national cinema, for research and study purposes, and also a comprehensive enough reference for those purely interested in the subject.
Parviz Jahed
INTRODUCTION BY THE EDITOR
The Iranian constitutional revolution and modernity movement commenced close on the heels of the debut of cinema in Iran. In fact, cinema in Iran appeared in concurrence with the rise of modern thought, so much so that the fate of cinema has been somewhat linked to the historic fate of modernity. As the most influential modern media in Iran s traditional, religious, and non-democratic society, cinema was constantly denounced by clerics and religious classes on the one hand and censored and placed under immense pressure by the state and military bodies on the other.
The case of the Iranian cinema in the early days after its debut is paradoxical, since it was introduced to Iran by people who bore no affinity to this modern product of the progressive and industrial West (reference here is being made to the Qajar king and courtiers) and who, historically, are considered among the most backward and reactionary classes of the society. Upon being recommended by Intellect Books to become the editor of the Directory of World Cinema: Iran, I immediately accepted, for I had really noticed the gap in English publishing for a complete and thorough index of Iranian cinema, whether as a post-graduate student at the University of Westminster, writing my dissertation on the origins of the Iranian New Wave Cinema, or in my own studies and work on Iranian cinema in general.
There was a strong need for a compendium of sorts about Iranian cinema, and so this was a worthy project to be embarked on. It could be supposed that a lot of writing already exists on Iranian cinema, new Iranian cinema in particular; including journals and even books, but the majority of these pieces have been written by western critics and researchers, with Iranian writers and scholars occupying a relatively meagre ratio. In addition, a major part of English writings that exists on Iranian cinema is concerned with post-revolutionary cinema (or new Iranian cinema), with only a few sources existing on pre-revolutionary cinema which are often mistake-ridden and of little academic value. Therefore it was a necessity to publish to paint a clear picture of Iranian cinema and its development from its formation to the present day, presenting not only a chronological record of movements and specific genres and trends, but also one which logically interlinks the cinema of before and after the Revolution. A book which can be used as a reliable source of information on Iranian cinema for those interested in the subject as well as a reference for scholars and the like, with the main goal being to effectively fill an analytical and informative gap about Iranian cinema in English literature.
The main approach here is to take a look at the different genres, an element which throughout its 100 year history, Iranian cinema has taken on and abandoned its fair share of; for example the Jaheli genre (roughly translated to ruffian ) was very popular in the 1960s and 1970s but was simply non-existent after the Revolution. The main problem with this was classifying Iranian films in terms of genre, as some films can be very hard to pigeonhole, or overlap into several genres. In my view, any national cinema has its own film culture and cinematic terms which may not be found in American or European film culture or in the western film criticism. Therefore it is important to maintain a balance between the diversity of local Iranian cinema and the underlying unity of world cinema.
Despite its limitations, this manner of categorizing is the most comprehensive method to investigate the films and trends of Iranian cinema in a historical and social context. This kind of approach also helps in presenting the many international influences (such as the cinema of Hollywood or Indian films) on Iranian cinema, and how they have helped in shaping these generic conventions. The approach also highlights how certain genres have formed, changed, or disappeared all together in accordance with the periodic, political alterations that occurred within Iran - as seen through films made about war, or children.
Behrouz Tourani, in his remarkable essay addressed the invention of cinema in Iran from a new perspective and investigated its development despite all the obstacles and restrictions on its way. It deserves to be noted that there are words in Iranian film culture which may refer to a specific film genre (such as Jaheli Film w