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 backed by way of the ruling shahs and different elites quickly emerged. The presence of ladies, either at the reveal and in motion picture homes, proved debatable until eventually 1925, whilst Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until eventually 1941, Reza Shah applied a Westernization software meant to unite, modernize, and secularize his multicultural, multilingual, and multiethnic kingdom. Cinematic representations of a fast-modernizing Iran have been inspired, the veil used to be outlawed, and dandies flourished. whilst, images, motion picture construction, and picture homes have been tightly managed. movie creation eventually proved marginal to country formation. merely 4 silent characteristic motion pictures have been produced in Iran; of the 5 Persian-language sound good points proven within the kingdom prior to 1941, 4 have been made through 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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Extra resources for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941
The projector’s body was made with planks of wood obtained from crates. For the lens, they adapted an ordinary magnifier, which they installed inside a tube; for the claw mechanism that pulled the film using sprocket holes, they drove nails into a wooden spool they obtained from a textile mill; for the motor to drive the projector, they cannibalized an electric fan they had purchased for the purpose; and for the belt connecting the motor to the claw mechanism, they waxed some twine. After all this, they discovered their projector’s Achilles’ heel: they needed a shutter and an intermittent movement mechanism to hold each frame still for a fraction of a second in front of the lens.
Yet my friends and I loved American fiction movies and fetishized their stars, imitated their style, and took delight in mimicking their names with exaggerated flourish. In addition, we regarded the movie houses as both symxlvi ho w i t al l b eg a n 16: Author’s early film criticism. A page from my film criticism notebook containing reviews of sixteen usia documentaries, written at age nine (1953–54). ” The left page shows my review of the film Cleanliness Results in Health (Pakizegi Mojeb-e Tandorosti Ast).
No kissing or even petting was necessary to make the movie house electrifying: mere privacy, anonymity, and holding hands were sufficient. I remember watching in rapture Elia Kazan’s Splendor in the Grass (1961) with my girlfriend Zhina in the Moulin Rouge Cinema in the Armenian district of Jolfa. The resonance between the love that Warren Beatty’s and Natalie Wood’s characters felt and the passion that Zhina and I had was gripping. As a child, I attended not only movies but also rowzeh, often with my parents, where we sat on carpets on our haunches in gender-segregated groups for hours, listening to sermons and lamentations, watching the chest-beating, forehead- and thigh-slapping, and weeping of adults.