Shi'i Islam in Iranian Cinema: Religion and Spirituality in by Nacim Pak-Shiraz

By Nacim Pak-Shiraz

In contemporary years there was a striking surge in Iranian movies expressing contentious matters which might rather be very tough to debate publicly contained in the Islamic Republic of Iran -- similar to the function of clergy in Iranian society. Nacim Pak-Shiraz right here highlights what number Iranian movie administrators situation themselves with the content material of the non secular and old narratives of tradition and society, sparking debate concerning the medium's compatibility or incongruity with faith and spirituality. She explores some of the ways in which Shi'i discourse emerges on display, and provides groundbreaking insights into either the function of movie in Iranian tradition and society, and the way it has turn into a medium for exploring what it skill to be Iranian and Muslim after thirty years of Islamic rule. this can be useful examining scholars and students of movie reports and modern Iranian cinema, but in addition of the tradition and id of Iran extra widely.

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9. Iranian Discourses on Religion in Cinema 39 Table 1 A translation of the caricature, opposite, appearing in Jashnvareh, 31 January 2005 A Discussion Regarding the Symbols of Spirituality-makers! First Symbol: Rain Second Symbol: Wind Creating Instruments: ewer (aftabeh), hose, watering can, anything that pours water ... Emanating Meaning: pouring love ... love pouring, the rain of love, teardrops ... Creating Instruments: shovel + shovel handle + heap of soil, anything that creates wind. Emanating Meaning: the wind of life, the wind will bring us, kite, you were in my wind, I’ve given myself to your wind.

44 Shi‘i Islam in Iranian Cinema One of the topics of Moravveji’s discussion, for example, is the issue of the indirect gaze. An indirect gaze is defined as looking at a woman through her reflection in a mirror or in water, in a photograph or on the television screen. After examining different hadiths and viewpoints, he concludes that, like the direct gaze, the indirect gaze is forbidden, the only exceptions being photographs, television and film. Thus, if the images in the photographs, television or film are of unknown women, looking at any part of their body is permissible – but only if the gaze is without the intention of pleasure.

I shall turn to these debates in Chapter 3. CHAPTER 2 CONTEMPORARY IRANIAN DISCOURSES ON RELIGION AND SPIRITUALITY IN CINEMA The 10-day Fajr International Film Festival (FIFF) is one of the most exciting times for film-makers and filmgoers in Iran. 1 The festival not only showcases the most recent productions within the country but also recognises the achievements of those who have contributed significantly to the industry in various capacities. The Farabi Foundation2 had kindly issued me with a press pass for two of three consecutive years (2004–2006) that I attended the FIFF in Tehran.

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