عنوان

Cinematic Modernity: Cosmopolitan Imaginaries in Twentieth Century Iran

Number

230012

.Language of Text, Soundtrack etc

eng

Title Proper

Cinematic Modernity: Cosmopolitan Imaginaries in Twentieth Century Iran

First Statement of Responsibility

/ by Golbarg Rekabtalaei

Name of Publisher, Distributor, etc.

University of Toronto, Canada

Date of Publication, Distribution, etc.

, 2015.

Specific Material Designation and Extent of Item

250p.

Text of Note

Code E.Dissertation: 121

Text of Note

مدخل مرتبط: سینما -- فن و صنعت و هنر

Text of Note

مدخل مرتبط: سینمای ایران

Text of Note

Bibliography

Dissertation or thesis details and type of degree

Ph.D

Discipline of degree

Near and Middle Eastern Civilizations

Text of Note

This dissertation explains how in the late 1940s, after a decade long hiatus in Iranian feature-film productions—when cinemas were dominated by Russian, British, and German films—Iranian filmmakers and critics actualised their aspirations for a sovereign national cinema in the form a sustained commercial industry; this cinema staged the moral compromises of everyday life and negotiation of conflicting allegiances to families and social networks in a rapidly changing Iran—albeit in entertaining forms. While critiqued for ―imitating‖ European commercial films, this cinema—known as ―Film-Farsi‖ (Persian-Language)–was highly informed by lived experiences of Iranians and international commercial motion pictures. In the late 1950s, a group of internationally-educated filmmakers, distanced themselves from the debilitating charges aimed at ―Film-Farsi‖ cinema, and crafted an alternative, social realist, intellectual cinema, i.e., an alter-cinema, that drew upon recognised international visual motifs and techniques, and lent itself to a critique of social and political conditions of the time. Envisioning a cinematic revolution (in form and content), this cinema became more politically conscious as revolutionary fervor grew in the 1970s. Decoupling cinematic temporality from Iran‘s political temporality, this dissertation demonstrates that alter-native cinema‘s revolution presaged the political revolution of 1979.

Entry Element

سینما

Topical Subdivision

-- تاریخ

Geographical Subdivision

-- ایران

Motion pictures -- Iran -- History

سینمای ایران -- تغییر و تحول

Rekabtalaei, Golbarg