Iranian cinema is today widely recognized not merely as a distinctive national cinema, but as one of the most innovative in the world. This international stature both fascinates Western observers and appears paradoxical in line with perceptions of Iran as anti-modern. The largely Iranian contributors to this book look in depth at how Iranian cinema became a true "world cinema." From a range of perspectives, they explore cinema’s development in post Revolution Iran and its place in Iranian culture.
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Book Description
Editorial Reviews
Review
"...shine[s] a different light on the film masterpieces emerging from that country."--Time Out London
"...both informative and, occasionally fascinating."--The Times Literary Supplement
"The essays provide a cultural, social, economic and political context for the films and their makers... "--Film magazine
"An indispensable book for contextualising some of the most exciting movies being made."--Sight & Sound
"...both informative and, occasionally fascinating."--The Times Literary Supplement
"The essays provide a cultural, social, economic and political context for the films and their makers... "--Film magazine
"An indispensable book for contextualising some of the most exciting movies being made."--Sight & Sound
About the Author
Richard Tapper is Professor of Anthropology at the School of Oriental and African Studies, London.
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1 of 5 people found the following review helpful:
5.0 out of 5 stars
Cinema, mirror of society!,
This review is from: The New Iranian Cinema: Politics, Representation and Identity (Paperback)
This book is an outstanding work since it covers a wide range of works by different renowned directors who have had the courage to break silence. Works like this reflect the through picture of Iranian society and nation and help Iranians gain their tarnished reputation and identity in the world.
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Inside This Book
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First Sentence:
In the early 1970s, a number of films by Iranian directors attracted considerable international attention, as Roy Armes notes in his seminal work Third World Film Making and the West: 1970 [saw] the appearance of a New Iranian Cinema...created by a fairly heterogeneous group of young intellectuals, many of them foreign-educated, and receiving some support from the Ministry of Culture and the state television service. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
film farsi, cinema affairs, exhibition permits, local film production, progressive filmmakers, technological modernity, political cinema, cinematic career, ideological resistance, political film, poetic realism Key Phrases - Capitalized Phrases (CAPs): (learn more)
Islamic Republic, New York, The Crystal Garden, Mohsen Makhmalbaf, Islamic Revolution, Hamid Naficy, The Taste of Cherry, Divorce Iranian Style, Abbas Kiarostami, Arts Centre, Ayatollah Khomeini, Capitalist Modernity, Los Angeles, Rakhshan Bani-Etemad, Bagh-e Bolur, Daryush Mehrju'i, Kadr-e Film, Bahram Beyza'i, Children of Heaven, Judge Deldar, Sacred Defence, Beyza'i's Bashu, Cannes Film Festival, Iran Times, Fajr Film Festival New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
In the early 1970s, a number of films by Iranian directors attracted considerable international attention, as Roy Armes notes in his seminal work Third World Film Making and the West: 1970 [saw] the appearance of a New Iranian Cinema...created by a fairly heterogeneous group of young intellectuals, many of them foreign-educated, and receiving some support from the Ministry of Culture and the state television service. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
film farsi, cinema affairs, exhibition permits, local film production, progressive filmmakers, technological modernity, political cinema, cinematic career, ideological resistance, political film, poetic realism Key Phrases - Capitalized Phrases (CAPs): (learn more)
Islamic Republic, New York, The Crystal Garden, Mohsen Makhmalbaf, Islamic Revolution, Hamid Naficy, The Taste of Cherry, Divorce Iranian Style, Abbas Kiarostami, Arts Centre, Ayatollah Khomeini, Capitalist Modernity, Los Angeles, Rakhshan Bani-Etemad, Bagh-e Bolur, Daryush Mehrju'i, Kadr-e Film, Bahram Beyza'i, Children of Heaven, Judge Deldar, Sacred Defence, Beyza'i's Bashu, Cannes Film Festival, Iran Times, Fajr Film Festival New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 56
books:
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10
books
cite this book:
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- Home, Exile, Homeland: Film, Media, and the Politics of Place (AFI Film Readers) by Hamid Naficy in Front Matter, page 65, and page 214
- The Making of Exile Cultures: Iranian Television in Los Angeles by Hamid Naficy in Front Matter, and page 24
- Mimesis and Alterity: A Particular History of the Senses by Michael Taussig on page 243, and page 253
- Iran Media Index. (Bibliographies and Indexes in World History) by Hamid Naficy in Front Matter, and page 63
- Nation and Narration by Homi K. Bhabha on page 242, and page 252
See all 56 books this book cites
- Muslim Ethics: Emerging Vistas by Amyn B. Sajoo in Back Matter (1), Back Matter (2), and Back Matter (3)
- Films of Makhmalbaf: Cinema, Politics and Culture in Iran by Eric Egan on page 67, and Back Matter
- Traditions in World Cinema by Linda Badley on page 187, and page 189
- Genre, Gender, Race, and World Cinema by Julie Codell on page 367, and page 406
- Modern Iran: Roots and Results of Revolution by Nikki R. Keddie in Back Matter (1), and Back Matter (2)
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