By Hamid Naficy
The remarkable efflorescence in Iranian movie, television, and the recent media because the consolidation of the Islamic Revolution animates Volume 4. in this time, documentary motion pictures proliferated. Many filmmakers took as their topic the revolution and the bloody eight-year warfare with Iraq; others critiqued postrevolution society. The powerful presence of ladies on display and at the back of the digital camera resulted in a dynamic women's cinema. A dissident art-house cinema—involving the superior Pahlavi-era new-wave administrators and a more youthful iteration of leading edge postrevolution directors—placed Iranian cinema at the map of global cinemas, bringing status to Iranians at domestic and overseas. A fight over cinema, media, tradition, and, eventually, the legitimacy of the Islamic Republic, emerged and intensified. The media grew to become a contested web site of public international relations because the Islamic Republic regime in addition to overseas governments adversarial to it sought to harness Iranian pop culture and media towards their very own ends, inside and out of doors of Iran. The large overseas flow of flicks made in Iran and its diaspora, the monstrous dispersion of media-savvy filmmakers out of the country, and new filmmaking and communique applied sciences helped to globalize Iranian cinema.
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 4: The Globalizing Era, 1984–2010 PDF
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Additional resources for A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010
His description of the Islamic ardor that drove the members, particularly the soundman Reza Moradinasab, who was killed in Operation Karbala 5, corroborates Avini’s analysis of the importance of selfless passion and faith. He [Moradinasab] was only one example of the type of dedicated people I worked with. I was very close to this man, and he was truly full of ardor. . During military operations, he was so excited that he could no longer fit inside his own skin. When I was working with him I was both enthusiastic and apprehensive.
Out of necessity and to enhance realism, much of the footage was filmed handheld and in synch sound. A huge and historically valuable archive was collected. The Chronicle of Victory’s voice-over narration, which interrupts the cacophony of bullets, machine guns, grenade launchers, helicopters, fighter jets, and tanks, as well as military music, generally gives little information about the specifics of the military operation, the personnel involved, location, or time— perhaps partly for security reasons.
Accompanied by an assistant, who carried both a machine gun and a supply of film, each cameraman-w itness showed great individual initiative and bravery in covering the front. According to Seyyed Mohammad Ali Shaikh al-Eslami, the head of Forty Witnesses in the early 1990s, the resulting footage and accompanying sounds were not of the highest quality; they were rough, like documents written with a shaky hand. Nevertheless, they constituted important eyewitness accounts of an unjust war (quoted in Farasati 2000c/1379:111).