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 hot medium in nice Britain. An artisanal cinema subsidized via the ruling shahs and different elites quickly emerged. The presence of girls, either at the monitor and in motion picture homes, proved debatable until eventually 1925, while Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling till 1941, Reza Shah applied 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 was once outlawed, and dandies flourished. even as, images, motion picture construction, and film homes have been tightly managed. movie construction eventually proved marginal to country formation. merely 4 silent characteristic movies have been produced in Iran; of the 5 Persian-language sound beneficial properties proven within the nation prior to 1941, 4 have been made via 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
Read or Download A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 PDF
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Extra info for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941
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. This was a modest commercial cinema that, I think, was called Metropole Cinema, located near our house on Lower Chaharbagh Avenue (it later became a shopping plaza).
My uncles Reza and Hosain Nafisi, who also built a hand-cranked cartoon projector in the mid-1950s, solved the problem of the reversed projection of the alphabets by reading the dialogue aloud to the ho w it all began xxxv spectators like curtain reciters and movie-house translators, discussed extensively here (Naficy 2007b). The filmmaker Asadollah Niknejad, who emigrated to the United States, told me that he had been fascinated with the idea of building a projector in his youth and, indeed, had manufactured a 35mm model, which he said still works.
However, as Nahal Naficy, one of the youngest members involved in the project, told me, these editors added a new, sophisticated feature: extensively researched special issues. One of these was devoted to Zoroastrianism, and its preparation involved a group field trip to the seat of the religion in Yazd to conduct interviews there and to study the sacred text, the Avesta. The production process also became more collective and more regularized than its predecessor’s, consisting of regular monthly or bimonthly editorial meetings at a member’s home, sleepovers, and group writing and illustrating sessions (Naficy 2007c).
A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 by Hamid Naficy