Download A Social History of Iranian Cinema, Volume 1: The Artisanal by Hamid Naficy PDF

By Hamid Naficy

Hamid Naficy is without doubt one of the world’s prime gurus on Iranian movie, and A Social heritage of Iranian Cinema is his magnum opus. overlaying the overdue 19th century to the early twenty-first and addressing documentaries, renowned genres, and artwork movies, it explains Iran’s abnormal cinematic construction modes, in addition to the position of cinema and media in shaping modernity and a contemporary nationwide id in Iran. This entire social heritage unfolds throughout 4 volumes, every one of that are preferred on its own.

Volume 1 depicts and analyzes the early years of Iranian cinema. movie used to be brought in Iran in 1900, 3 years after the country’s first advertisement movie exhibitor observed the recent medium in nice Britain. An artisanal cinema subsidized via the ruling shahs and different elites quickly emerged. The presence of girls, either at the reveal and in motion picture homes, proved debatable until eventually 1925, while Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until eventually 1941, Reza Shah carried out 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. even as, images, motion picture construction, and film homes have been tightly managed. movie creation finally proved marginal to country formation. simply 4 silent characteristic movies have been produced in Iran; of the 5 Persian-language sound positive factors proven within the nation earlier than 1941, 4 have been made by way of 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

Show description

Read or Download A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 PDF

Best movies books

Hoodwinked: Watching Movies with Eyes Wide Open

'Hoodwinked' is classic Dowbenko -- the simplest politically flawed motion picture reports ever released. What do they wish you to think after you may have spent hours at midnight observing a film? What are the hidden meanings and mystery messages of well known videos? those are the questions - and the basis of every of the reports during this ebook.

Between Stillness and Motion: Film, Photography, Algorithms

Because the improvement of movie as a creative medium within the Eighteen Nineties, there was an inherent stress among nonetheless photographic photographs and relocating cinematic photos, from their shape and serve as to the messages they impart and their impression at the beholder and on tradition at huge. This quantity, one of many first book-length works to investigate, critique, and additional the foreign debate concerning the that means and use of movement and stillness in movie and images, takes those ideas out of the theoretical area of cinematic reports and applies them to the broader and ever-changing panorama of pictures and media.

Unthinking Eurocentrism: Multiculturalism and the Media

Unthinking Eurocentrism, a seminal and award-winning paintings in postcolonial reports first released in 1994, explored Eurocentrism as an interlocking community of buried premises, embedded narratives, and submerged tropes that constituted a widely shared epistemology. inside of a transdisciplinary examine, the authors argued that the debates approximately Eurocentrism and post/coloniality has to be thought of inside a huge ancient sweep that is going at the least way back to many of the 1492s – the Inquisition, the Expulsion of Jews and Muslims, the Conquest of the Americas, and the Transatlantic slave exchange – a method which culminates within the post-War makes an attempt to greatly decolonize international tradition.

Additional info for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941

Sample text

I remember being extremely anxious watching a particular scene involving voyeurism through a high window, the specifics of which I do not now recall. All I remember is intense emotion, anxiety, and suspense. I clutched my father for safety. My uncle Reza, who is only a few years older than me, also remembers that at ten, while watching Tarzan, he felt extremely frightened of the possibility of the lions charging and devouring him (Naficy 1986). As far as the movie house itself is concerned, my first recollection is of a long, narrow, place almost resembling a tunnel, with a high ceiling, filled with people, smoke, and noise.

My cousin, Alireza Naficy, eighteen years old (left), and his classmate, Homayun Shahriari (right), with the 35mm projector they built in 1955 in the backyard of Shahriai’s house in Isfahan. Still courtesy of Alireza Naficy xxxvi ho w i t al l b eg a n Electrical service stoppages were not the only source of movie interruption. Because of inferior projectors and old “junk” film prints, discussed in these pages, movies often broke during projection, causing projectionists to cut off strips of films when resplicing.

Soon, in another tragic but necessary step, the family broke up the Ibn Sina Library by dividing the books thematically among a half a dozen members’ homes and gardens, where they were dispersed in closets, backrooms, and basements. The final nail in the coffin of the library came when one night I and Nooshin, my youngest sister whose cute baby pictures I had taken only a few years before, fearing that the Ibn Sina patrons’ ledger may incriminate the family, wrapped it in layers of plastic for safekeeping and buried it deep under a plum tree in the yard in our Bagh Jennat house.

Download PDF sample

Rated 4.30 of 5 – based on 10 votes