By Hamid Naficy
Volume 1 depicts and analyzes the early years of Iranian cinema. movie was once 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 display and in motion picture homes, proved arguable until eventually 1925, while Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until eventually 1941, Reza Shah applied a Westernization application 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 creation, and picture homes have been tightly managed. movie creation eventually proved marginal to country formation. in simple terms 4 silent characteristic movies have been produced in Iran; of the 5 Persian-language sound positive aspects proven within the kingdom earlier than 1941, 4 have been made by way of an Iranian expatriate in India.
A Social background 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
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Additional resources for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941
Barely a month after arriving in Los Angeles, a sense of desolation and rage took me over, pushing me toward Stephen Crane’s horrific poetry and Jean-Paul Sartre’s humanist and existentialist philosophy. I copied many of Crane’s poems and passages from Sartre’s Nausea in my journal. On 26 April 1964, for example, I filled an entire page with the word nausea, repeated over and over, in a fashion chillingly reminiscent of Jack Torrance’s possessed writing of pages of “All work and no play makes Jack a dull boy” in Stanley Kubrick’s The Shining (1980).
In one scene, the pair is on all fours in tattered clothing, circling each other like two beasts and viciously barking out the two-syllable word at each other. At the film’s end, in a self-reflexive scene, the young man in a dry creek-bed finds a small black-and-white television set, which is showing an image of him discovering the set. The image on the tv shows a whole brain placed outside a skull on a table. A hand (my own) reaches into the frame and proceeds to mash and knead the brain like dough.
In the early decades, since most cinemas had only one film projector, a movie was never shown in its entirety without several intermissions, needed to change the reels. During the first intermission, spectators would noisily migrate from row to row to sit near their friends or in better seats. In the ho w it all began xliii movie houses that allowed women, these were separated from the men by a curtain or a divider erected in the middle. Even lacking an official barrier, women usually sat on one side and men on the other.
A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 by Hamid Naficy
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