The New Iranian Cinema: Politics, Representation and by Richard Tapper

By Richard Tapper

Iranian cinema is this present day well known no longer purely as a particular nationwide cinema, yet as essentially the most leading edge on the planet. This foreign stature either fascinates Western observers and looks paradoxical based on perceptions of Iran as anti-modern. The principally Iranian individuals to this booklet glance intensive at how Iranian cinema grew to become a real ‘world cinema’. From quite a number views, they discover cinema’s improvement in publish Revolution Iran and its position in Iranian tradition.

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Foreigners see the exotic (mystery and misery); Iranians abroad look for the familiar, the colourful homeland (that they have constructed). 15 16 The New Iranian Cinema Choice of film locations is constrained by numerous factors, among which are budget and filming styles, international demand for certain ‘documentary’ depictions of real locations in Iran (urban backstreets and beautiful rural scenery, but exotic images in particular), Iranian notions of privacy, the demands of the plot, and a filmmaker’s own relationship to a place, which may become the ‘star’ of the film.

Their impact was augmented by their longevity in office, since by and large they retained their influential positions throughout the first decade of the Islamic regime. Regulations Governing Exhibition of Films and Videos The MCIG has overall responsibility for supervising the motion picture industry. The concentration at the Ministry of the power to set, regulate and enforce policy has helped both to reduce the confusion of the previous period and to enhance government control, thereby setting the stage for the emergence of Islamic unity out of revolutionary destruction and post-revolutionary uncertainty.

7 We do not know for certain his reasons for this, but this action fits his general paradigm of westernization as either a drug (‘sleeping potion’)8 that puts believers in a stupor or a ‘fatal, killer disease’9 that annihilates its victims. Mojtaba Navab-Safavi, one of the leaders of Fedayan-e Eslam, a fundamentalist group operating in Iran in the 1940s, selects a different but equally powerful and graphic metaphor to describe cinema and its supposedly direct effect on society. 10 In two of his important pre-revolutionary works, Ayatollah Khomeini too links cinema directly with the onset of corruption, licentiousness, prostitution, moral cowardice and cultural dependence.

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