By Hamid Naficy
Volume 1 depicts and analyzes the early years of Iranian cinema. movie used to be 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 backed through the ruling shahs and different elites quickly emerged. The presence of ladies, either at the reveal and in motion picture homes, proved arguable till 1925, whilst 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 nation. Cinematic representations of a fast-modernizing Iran have been inspired, the veil was once outlawed, and dandies flourished. while, images, motion picture creation, and film homes have been tightly managed. movie construction eventually proved marginal to nation formation. merely 4 silent characteristic movies have been produced in Iran; of the 5 Persian-language sound good points proven within the kingdom 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 Online or Download A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 PDF
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Additional resources for A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941
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). ” It came from a young, disheveled boy carrying a wooden tray hung from his neck. On it he carried bottles of soft drinks (recently introduced in Iran), lemonade, cigarettes, and ajil— an assortment of lightly salted watermelon, melon, and pumpkin seeds and nuts.
Inside, I placed a light bulb, a reflector, and a roll of cartoon images, which I had cut out and pasted together from the children’s magazine Kayhan-e Bachehha (Children’s Kayhan), the subscription to which I had won in a contest. By cranking the handles on the outside of the box, I could view the cartoon strip as it passed in front of the window. I added a lens to the window and was able to project the cartoon images on the wall (ignoring the reversed writing), creating my first film show for my family.
Because of the diversity of sources and the deterioration of some films and videos, the quality of the pictorial illustrations varies. pr eface How It All Began H istory is written by individuals who have their own personal and intellectual histories and perspectives. This preface is a history of my engagement with the subject of Iranian cinema and its place in the world. It is not my autobiography or my family’s history, but a cultural autobiography about my contentious love affair—and that of other Iranians—with cinema, Iran, and the West.
A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897-1941 by Hamid Naficy