An analysis of the recent development of Iranian Cinema should primarily mention its origins and history, especially since Iranian cinema always has been so closely linked to the political circumstances dominating the social reality. Its outset is generally accepted to have begun around 1900, when Mirza Ebrahim Khan Akkas Bashi, the official photographer of Muzaffar al-Din Shah, shot the first Iranian documentary.... As Richard Tapper states in his work, The New Iranian Cinema, “both government and religious authorities sought to control the images to be shown publicly.” ‘Formal censorship’ began in the 1920s, when the imported films exhibiting women, sex and amusement dominated the Iranian market. In contrast to this permissive attitude, depicting the political or social reality critically in local productions was taboo. Until the Second World War “nothing worthy of being called ‘national cinema’” was produced. In these decades, Iranian films were mainly remakes of foreign works, mainly Indian or Egyptian, and normally they lacked artistic quality. This genre of films is known as “Film Farsi.” Along with the development of film comes the history of censorship, which tries to curb the freedom of expression in increasingly institutionalized manners. Indeed, in 1950 a committee for the supervision of locally produced or imported films was established. This might have contributed to the fact that in the 1950s and 1960s, next to the import of American and Indian films, only “commercial films” were famous in Iran, whose sole aim was to entertain and to fill the cash tills. In this period too, the censorship worried more about the expression of political opinions than about the demonstration of sex. However, on the edge of mainstream productions slowly evolved few other interesting and formative films. “1969 is generally agreed to mark the birth of Iranian art cinema, called the New Wave.” In the following period various films were successfully presented to international film festivals. However, from its beginning on, the evolution of Iranian cinema was constantly accompanied by a consistent religious opposition. Through the lens of many Iranian clerics, films were immoral. They denounced cinema as a tool to access corrupt western influence into Iran. This suspicion and aversion against cinema, which was deep-rooted in many Iranian clergymen found later on as well expression in the Islamic Republic.
Table of Contents
1. Historical background and early cinema
2. Institutional framework and cultural policy
3. Cultural institutions and political influence
4. Evolution of cinematic genres and war cinema
5. The impact of economic factors and censorship
6. Political debates and the artistic trajectory
Research Objective and Core Themes
This work examines the evolution of Iranian cinema following the 1979 Islamic Revolution, analyzing how shifting political mandates, institutional frameworks, and strict censorship shaped the artistic quality and thematic content of local film productions.
- The influence of the Islamic Revolution on cultural policy and institutional control.
- The role of the Farabi Cinematic Foundation and state support for revolutionary cinema.
- The development of the "war film" genre and its use for ideological indoctrination.
- Economic constraints and the rise of international co-productions and festival recognition.
- The tension between state censorship and the creative agency of Iranian filmmakers.
Excerpt from the Book
The development of Iranian cinema after the Islamic Revolution
In the early years subsequent to the revolution, cinema was primarily used for propaganda purposes, thus to spread Islamic values among the Iranian population. The first speech of Ayatollah Khomeini following his return from exile to Iran lines out his position regarding cinema:
"We are not opposed to cinema ... cinema is a modern invention that ought to be used for the sake of educating the people, but as you know, it was used instead to corrupt our youth. It is the misuse of cinema that we are opposed to, a misuse caused by the treacherous policies of our rulers."
The aim of the revolution and successively of the Islamic regime in terms of cultural policy was to create an "authentic cultural milieu that would recapture the dignity of Iran as a Muslim country." This goal had to be achieved through education and the consistent emphasis on Islamic morality. Thus a new national cinema which would respect and promote Islamic values of the Iranian society had to be created. First of all this intention required erasing the remainders of the Pahlavi regime. Consequently many film theaters had been destroyed or shut down during the Islamic Revolution. The theaters which managed to survive changed their usually Western names to Islamic and third world names.
Summary of Chapters
Historical background and early cinema: This chapter provides an overview of the origins of Iranian film and the early history of state censorship during the pre-revolutionary period.
Institutional framework and cultural policy: Focuses on the immediate post-revolutionary efforts to align cinema with the ideological goals of the new Islamic regime.
Cultural institutions and political influence: Analyzes the establishment of organizations like the Supreme Council of the Cultural Revolution and their regulatory role in the film industry.
Evolution of cinematic genres and war cinema: Details how war-related narratives were utilized to promote national identity and religious martyrdom in early post-revolutionary years.
The impact of economic factors and censorship: Discusses the financial crises, state subsidies, and the shifting censorship patterns that affected film quality and artistic freedom.
Political debates and the artistic trajectory: Explores the intersection of political power struggles, intellectual debates, and the emergence of more artistic and critical cinematic works in the 1990s.
Keywords
Iranian Cinema, Islamic Revolution, Censorship, Cultural Policy, Propaganda, War Film, Farabi Cinematic Foundation, Ayatollah Khomeini, Political Reform, Artistic Freedom, Islamic Morality, National Identity, Film Industry, Middle Eastern Studies, Contemporary Cinema
Frequently Asked Questions
What is the primary subject of this book?
The book analyzes the transformation and development of Iranian cinema in the decades following the 1979 Islamic Revolution.
What are the central themes explored?
The key themes include state-mandated cultural policies, the impact of religious ideology on art, the role of censorship, and the evolution of cinematic genres such as war films.
What is the main research objective?
The goal is to understand how political, institutional, and economic factors have shaped the aesthetic and thematic evolution of the Iranian film industry since 1979.
Which scientific methods are applied?
The author uses historical analysis, political discourse analysis, and an examination of institutional frameworks to evaluate the cinematic output of the era.
What does the main body of the work cover?
The main sections cover the early propaganda era, the influence of cultural councils, the economic challenges of the film industry, and the changing role of censorship.
Which keywords best characterize this research?
Key terms include Iranian Cinema, Islamic Revolution, Censorship, Cultural Policy, Propaganda, and Artistic Freedom.
How did the Islamic Revolution specifically affect film theaters?
Many theaters were destroyed or shut down, while those that survived were forced to change their names from Western-oriented titles to Islamic or "third world" names.
What role did the Farabi Cinematic Foundation (FCF) play?
The FCF acted as an executive arm of the government, exercising a monopoly over selecting ideologically appropriate films and providing support for revolutionary artists.
How is the "war film" genre described in the text?
The text describes it as a government-controlled genre used primarily to promote martyrdom, indoctrinate viewers, and support the political narrative of the regime.
Why did Iranian filmmakers start seeking international awards?
Due to chronic economic crises and the lack of domestic commercial success, international awards and festivals became essential for gaining publicity and future investment.
- Quote paper
- Sophie Duhnkrack (Author), 2009, The development of Iranian cinema after the Islamic Revolution, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/127506
