Iranian Cinema

Contributing factors of pre-revolutionary Iranian film:

establishment of film schools Founding of National Iranian Radio and Television in 1966 Emergence of film festivals, including Tehran International Film Festival in 1972 Founding of film clubs, especially at universities Founding of film production companies with government assistance, such as Tel Film Newly trained filmmakers who abandoned traditional filmmaking Socially conscious writers who collaborated with filmmakers -producing things that weren't expected

Ruhollah Khomeini

-Returns from exile to overthrow Pahlavi

The Cow

-this was THE film Origin of post-revolutionary auteurs in the aesthetic established by pre-revolutionary filmmakers of Iranian New Wave Simplicity of the narration; Based on real events (often documentary) but facts are manipulated; Inspired by popular poetic forms; Anti-establishment but not overtly political

Stylistic characteristics of Iranian auteur cinema:

A script inspired by true-life stories Real locations, often outdoors Use of non-professional actors, with long preparation and improvisation Simple and austere staging Strong ambiguity about what is real and what is fiction ('para-documentary') Narratives driven less by action and more on gestures that reveal character Repressed sensuality and sense of alienation (characters often lonely and wandering) Simple , modest treatment of human situations

Effects of Islamic revolution on film industry (distribution, exhibition, censorship):

Changes to Review and Censorship: -Many prerevolutionary films were reedited and retitled -Nudity was censored by applying blank inks to the frames directly -Government mandated an exhibition permit for all films which necessitated a review process, only 200 of some 2000 films were approved -Films are sometimes banned after their completion (Bahram Baiza'I's Death of Yazdegerd, and Mohsen Makhmalbaf's Zayandehrud's Nights and A Time to Love) Repercussions to Filmmakers: -Filmmakers considered immoral and were distrusted -Many forced to seek internal seclusion or external exile -Others were banned from making or appearing in films, threatened, incarcerated, or forced to give up their property Changes to Exhibition: -Burning down or destroying of 180 cinemas nationwide -Renaming remaining ones to avoid Westernized names -Theatrical attendance declined (Decreased number of theaters, undesirability of theater locations, poor conditions of the halls and heavy censorship) -Satellite dishes became more popular Changes to Distribution: -Imported films from US, Turkey and India were reduced -Eastern bloc films increased -Many 'revolutionary' films were shown (Z, Battle of Algiers, Battle of Chile)

Mohammad Khatami: Iran

Ex of post revolution Rightist faction concentrated attention on MCIG, Mohammad Khatami, its minister since 1982 -He laid the foundation for growth of domestic cinema (partial ban on import of foreign films) and provided financial support for filmmakers) -Rafsanjani abandoned Khatami; had to resign in 1992 -Meant end of open cultural policies of the late 1980s

Abbas Kiarostami: Iran

Example of Post Rev. With Khatami's election, MCIG came under control of "reformists" rather than "conservatives" Saw emergence of younger voices demeaning personal freedom and questioning the notion of feqh-based gender relations Post-Revolutionary auteur filmmakers: Abbas Kiarostami, Jafar Panahi, Mohsen Makhmalbaf, Asghar Farhadi

Reza Pahlavi:

Iranian coup d'etat: CIA-orchestrated overthrow of Mosaddegh, under leadership of Western-friendly Shah Mohammed Reza Pahlavi

Ministry of Islamic Culture and Guidance

Khomeini's regime made an attempt to bring cinema under the domination of state ideology and subject it to a process of Islamization Ex. Ministry of Culture and Art became Ministry of Culture and Islamic Guidance (MICG), with a mandate to Islamize all kinds of art and cultural productions

Iranian Revolution 1979

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Stabilizing film industry after Islamic Revolution:

New ordinances encouraging local production -Municipal taxes on local films reduced -Long-term bank loans made available -A film rating system that encourages quality films has been instituted -Social security system for film workers have been implemented Characteristic Works of this Period: -War with Iraq lead to the production of at least 56 feature fiction films, two-thirds of which focused on fighting and military operations -Historical films are popular, since revolutions encourage reexamination of the past and censorship necessitates avoiding the present time -Representation of women was contentious, leading many filmmakers to ignore women altogether -Stories of children dominated the screen

Effects of Iran-Iraq War on Iranian cinema:

Social upheaval of Iran-Iraq war produced need for filmmakers to document current events and later the need to entertain population State monopoly on distribution was loosened, and filmmakers encouraged to seek independent funding War with Iraq lead to the production of at least 56 feature fiction films, two-thirds of which focused on fighting and military operations -Historical films are popular, since revolutions encourage reexamination of the past and censorship necessitates avoiding the present time -Representation of women was contentious, leading many filmmakers to ignore women altogether -Stories of children dominated the screen