Issues and Paradoxes in the Development of Iranian National Cinema: An Overview

Contemporary Iranian cinema has enjoyed wide success on the international scene—winning awards at film festivals, receiving praise by critics, and being screened in many countries around the world. But this success has another side to it: at home in Iran, the movie theater attendance is in decline and a range of players, including individuals, policymakers and government entities continue to meddle in shaping its future. Throughout the twentieth century and during the two decades of post-revolutionary successes abroad, Iranian cinema developed its own unique style and aesthetic. A cinema which was sometimes nurtured and financially encouraged by the government, yet at other times censored or banned by it. This paper provides a brief survey of the history of Iranian cinema since the 1900s in order to reveal the paradoxical issues both propelling and bedeviling its development and the role of principal actors involved in fashioning an Iranian national cinema.     

Imagining the Diaspora in the New Millennium Comedies of Iranian Cinema

This article examines the genre of comedy in Iranian cinema and explores the various influences on its development and growth. It demonstrates how the roots of recent comedies can be traced back to pre-Revolution commercial cinema (known as filmfarsi) as well as the traditional Iranian comic theatre of taqlid. In particular, it focuses on the depictions of the Iranian diaspora in these comedies. The Iranian diaspora has been imagined and represented frequently in modern Persian culture, often satirically and humorously. More recently, Iranian comedies have provided a new space to imagine, define, criticize and redeem the Iranian diaspora.     

'Poverty,prostitution, filthy tavernas': cinephilia and popular Greek film of the fifties

Abstract

The diametrically opposed critical and commercial reception of two Greek films from the early 1950s exposes the contradictions inherent in the project of national cinema formation articulated by Greece's cinephile press. Critics such as Eleni Vlachou and Marios Ploritis sought to locate Greek film within the context of a realist–humanist European art cinema, and denigrated the commercial cinema for its over-reliance on foreign models and popular genres. This cinephile discourse reveals, however, keenly felt anxieties of cultural authority and status, anxieties manifest in the constant shifting between the twin semantic poles of cultural indigeneity and foreign cinematic influence.     

Cinematic Revolution: Cosmopolitan Alter-cinema of Pre-revolutionary Iran

In the late 1950s, when Iran was witness to the withering away of social norms and everyday practices concomitant with the country's rapid urbanization, a group of young Iranian film directors embarked upon a new cinematic trend, in attempts to screen the ethereal quotidian of Iranian life. Defining itself against what was perceived to be the “cheap” and “repetitive” commercial “Film Farsi” industry of the time, this alternative (alter-)cinema fused the local and global, by incorporating international cinematic elements in socially and politically conscious national films, and projecting them on local and international screens. Problematizing a homogeneous conception of historical time that subsumes the history of cinema into a conventionalized grand narrative of the Iranian 1979 revolution, this article works with a conception of heterogeneous historical time that first interrogates cinematic temporality autonomously and then in relation to the political history of Iran, especially the events of the 1978–79 revolution. This article explores how the distinct cosmopolitan alter-cinema of pre-revolutionary Iran was born from a cinematic rupture in the 1950s, prompted by series of critiques and professional expectations that colored the attention paid to the vernacular and quotidian in film production.     

Troubling Naturalism: Shirana Shahbazi's The Curve

This article performs a reading of Shirana Shahbazi's photo-based mural The Curve (2007), an artwork that interrogates the production of knowledge based on various ideas of truth in representation. The Curve meditates on knowledge production in relation to three sites: contemporary documentary photography, the history of northern European still-life painting, and the murals of religious leaders and martyrs that adorn Tehran. The effect of these multiple citations is the creation of an artwork that cannot be comfortably contextualized either in Western art history or in contemporary Iranian visual culture. The Curve thereby anticipates and attempts to block its own assimilation into art historical and critical discourses that reduce the work of Iranian artists to static reflections of a particular geographical and political reality. The artwork thus demands a consideration of the ways in which context, as a term in contemporary global art history, is ideologically constructed within a certain network of power relationships.     

Rationalizing the Irrational: Reza Attaran’s Popularity,Stardom, and the Recent Cycle of Iranian Absurd Films

Reza Attaran is one of the most successful stars of the Iranian popular cinema. This article explores the social circumstances, performative components, and political consequences of Attaran’s popularity and stardom, and the evolution of comedy and satire in the Iranian media after the 1979 Revolution. Analyzing the contextual elements and media texts over the last twenty-five years, the article argues that Attaran actively reflects a complex interaction between the social, political, and artistic demands of each period, best represented through his contribution to the television sketch comedies in the 1990s, and the lowbrow comedies and highbrow absurd films in the 2010s. The trajectory of Attaran’s stardom demonstrates the mechanism by which he serves the maintenance of the status quo.     

From Paper to Celluloid and Back Again: Finance and Form in Jorge Délano’s Films

This essay argues that our current understanding of the cinematic work by the pioneering Chilean film director Jorge Délano obscures a sophisticated interaction between politics, art and economics, one that reveals unexamined aspects of how the film industry developed in Chile. Most notably, it argues that Délano’s illustrated political satire magazine Topaze was central to the development of early sound cinema in the country. Following Rielle Navitski, the essay utilizes and examines tensions between models drawn from periodical studies and the concepts of remediation and intermediality in film studies. Examining illustrations from the first three years of Topaze’s production (1931–1933) in the context of the country’s economic situation, the essay argues that Délano remediated cinema in Topaze as a strategy of capital accumulation. This analysis also makes it possible to see how one of his sound films, Escándalo (1940), similarly remediated the illustrated paper periodical as he pursued financing for the production of cinematic commodities for export. The essay ends by examining the relationship between these issues and the political situation in early Cold War Chile.     

Vehicle Writings in an Iranian Context: The Interplay of Habitus and Field

The main objective of this paper is to problematize writings on vehicles in an Iranian context. Previous studies have indicated that vehicle stickers can be employed to express emotions and social status, political views, ideology and identity, and religious beliefs. However, very little has been done on this discursive practice in Iran. This study is the result of the content analysis of 122 vehicle writings collected from April 2011 to March 2012. This paper will draw on six of the most frequent themes: religion, humor, playing pessimism, didactic expressions, ethnic-geographic identification, and love. Employing Bourdieu's conceptual frameworks of “habitus,” “field,” and “doxa,” and Heath and Street's social practice perspective on literacy, it will be argued that vehicle writings in this study can be regarded as situated literacy practices reflecting the dominant undisputed discourses in the context, but at the same time displaying the dynamic interplay of power relations, the relationship of cultural structures and individual customized versions of those structures in vehicle writings.     

The Unveiled Apple: Ethnicity,Gender, and the Limits of Inter-discursive Interpretation of Iranian Contemporary Art

In the past two decades, Iranian contemporary art has been eagerly embraced by international art venues. The transportation of artworks from Tehran to mostly western European and North American cultural centers entails inter-discursive translations that will render them legible for their reception in a new context. This paper argues that bound up in these translations are performative acts of language that label these artworks as markers of ethnic alterity, unexplored localities and most of the time associates them with issues of gender and femininity (and therefore limited to the vocabulary of “veil,” “plight of women” and “sexual inequality”). Looking at a seven-minute piece of video-art by Ghazaleh Hedayat entitled Eve's Apple (2006), the article examines this predicament and the possibilities for the artists to circumvent it. It argues that Hedayat's video enables an observation of the performative dominance of Western discourses of art history that mark the limits of inter-discursive interpretation in disciplines such as art history and art criticism.     

Bad Jokes,Bad English,Good Copy: Sukiyaki Western Django,or How the West Was Won

Miike Takashi’s Sukiyaki Western Django is a contemporary remake of Sergio Corbucci’s Spaghetti Western Django. In this updated Japanese version all of the characters speak English and there is a notable cameo appearance by Quentin Tarantino that references the continuous series of filmic exchanges that have taken place between Asia and the West, most notably in the context of action cinema. Rather than conceiving of the various movements and exchanges between the two films (and their predecessors) in terms of the search for an “original” or for the conceptualisation of good or bad copies, this paper focuses on the question of genre and what it can bring to a discussion of cross-cultural value in cinema. In particular, the paper explores what the recurring turn to Westerns in Asia reveals about the search for new frontiers of value and aesthetics in global cinema. From the serious to the self-conscious to the downright “bad” (and bad-ass) Western, Sukiyaki Western Django is a notable recent example of how the “Asian Western” both localises and globalises a peculiarly American genre, and at once de-values and re-values the “original”.     

“Neither Ākhūnd nor Fukulī”: Munāzirah and the Discourse of Iranian Modernity

Iranian modernity has chiefly been examined in the context of a dialectical antagonism between “traditionalists” and “modernists”—the main categories comprised of related sub-headings such as “Islamist” versus “secular,” “reactionary” versus “revolutionary,” and “regressive” versus “progressive.” Following this binaristic approach, Iranian adaptations of modernity have often been (de)historicized as a theatre of national “awakening” resulting from the toils of secular intellectuals in overcoming the obstinate resistance of traditional reactionaries, a confrontation between two purportedly well-defined and mutually exclusive camps. Such reductionist dialectics has generally overwritten the dialogic narrative of Iranian modernity, a conflicted dialogue misrepresented as a conflicting dialectic. It has also silenced an important feature of Iranian modernity: the universally acknowledged premise of the simultaneity and commensurability of tradition with modernity. The monāzereh (disputation or debate) is the account of the interaction between rival discourses that engaged in opposing, informing, and appropriating each other in the process of adapting modernity. Narrativizing the history of Iranian modernity as the conflict between mutually exclusive binaries overlooks its hyphenated, liminal identity—a narrative of adaptation rather than wholesale adoption, of heterogeneity rather than homogeneity, of dialogics rather than dialectics. The monāzereh is the account of modern Iranian histories.     

Contemporary Iranian Art: The Emergence of New Artistic Discourses1

This article deals with the emerging discourses and concerns that have dominated the Iranian art community mainly since 1997. It discusses the existing, or rather conflicting, views of the current situation of the visual arts in Iran as expressed in recent artistic events, productions, and exhibitions as well as in critical reviews.² It does not fully discuss the variety of artistic genres in Iran, but examines the dominant ideas from the main opposing factions of cultural and artistic thought. It also aims at identifying the structural changes in Iranian art as well as the prevailing artistic policy of recent years.     

Whatever Happened to The Little Black Fish?

This essay uses retranslation studies to trace the defanging and domestication of Samad Behrangi’s The Little Black Fish, a children’s story once hailed as a major revolutionary and literary text. Behrangi’s book is the only modern Iranian prose work to have been translated multiple times both before and after the Islamic Revolution of 1979. The study compares the texts from several of these retranslations, by considering whether they have been domesticated for their English readers, as well as their context, by looking at the cultural impact of such factors as the Islamic Revolution and US?Iran relations. It looks at how various translators and publishers have interpreted the story and how their perspectives reflect Iranian history, the influence of Middle East studies, and the interests of the Iranian diaspora. The result sheds light on translation norms, as well as on the circulation and interpretation of Iranian literature in the global context.     

Picturing the homeland: geography and national identity in late nineteenth- and early twentieth-century Iran

In recent years, there has been a growing interest in geography as an ideologically loaded discourse about the world and its inhabitants which has operated both within and beyond educational institutions. Particular attention has been paid to the complex relationships between geography and imperialism, militarism and nationalism. For the most part, these studies have focused on the development of a western geographical imagination in Europe and North America. This article considers the development of geography in Iran during the late nineteenth and early twentieth centuries and charts some of the connections between this new spatial sensibility and an emerging Iranian nationalism. Based on rare and hitherto unexplored nineteenth-century Persian sources, including several newspaper images, this article examines the importance which Iranian statesmen and diplomats in the service of the Qajar dynasty attached to geography and to geographical reasoning in their attempts to protect their authority from external threats. The forms of Iranian geography which developed in this period sustained various myths and legends about Persia's historic importance and reflected both external, western ideas and concepts as well as indigenous, Persian traditions. Forged in a context of acute vulnerability to «Great Power» incursions, Iranian nationalism and Iranian geography both represented an intermingling of external, western and internal, non-western ideas.     

“Art is a Sincere Martyrdom”: Circumventing Censorship by Encryption in the Work of Alireza Espahbod

This paper focuses on various aspects of Alireza Espahbod’s style of painting that encrypt his work. The period considered is from the just after the Iranian revolution until the artist’s death in 2007: in these years censorship had become severe, resulting in banning prohibition on his work being exhibited. Apart from the striking symbols that recur throughout his work, it is noticeable that he favors certain visual metaphors for encryption of humanitarian and satirical meanings. The discussion also focuses on the ways in which sequences of his individual paintings create narratives, like scenes in a play or a film. Unlike some preceding modernists, Espahbod is firmly rooted in his Iranian cultural milieu, and is in a line of artists who have used surrealism, beginning with Sadegh Hedayat in the modern literary world. He also follows a much older tradition that goes back to classical poetry and miniature art, in which image and word coalesce and are interchangeable, and where literature and visual art reflect one another. He uses these older techniques to comment allusively on the dramatic events and conditions of his own time. It is argued that his work amounts to more than that of an artist who merely fought against censorship, as his art rises above it and responds to it with a positive message for his audience.     

How I Learned To Stop Worrying and Grudgingly Accept Product Placement: Nicolás López,Chilewood and Criteria for A Neoliberal Cinema

This essay examines the films of Chilewood, a collaboration between Chilean director Nicolás López and U.S. director Eli Roth and which is based in Santiago, Chile. Chilewood’s films underscore a stylistic fragmentation in contemporary Chilean cinema, which largely rests on a distinction between genre cinema and auteur cinema. Within the Chilewood endeavour, Chile serves as a node of production for genre cinema (romantic comedies, comedies, disaster films, thrillers, horror) for both domestic audiences and international audiences. While Chilewood’s films provide an instance to examine different forms of transnationalism through production, financing and content, these same facets can be assessed for their neoliberal aspects that vary with each production.     

A Unique Event in Iran–Soviet Economic Relations: The 1935 Iranian Trade Delegation to the USSR

The Iranian trade delegation’s visit to the USSR in April–May 1935 was an event of global significance, underscored by its extensive coverage in the international press. Marking the culmination of a new turn in the Soviet Union’s policy approaches towards Iran with respect to bilateral economic relations, this event is also considered in view of earlier incidents involving Iranian merchants who had boycotted Soviet trade organizations. Along with these political developments, the perspectives of Iranian government officials on foreign trade and industrialization are analyzed within the context of the increasing expansion, centralization, and bureaucratization of Iran’s national economy during the 1930s.     

Rethinking Idris-i Bidlisi: An Iranian Bureaucrat and Historian between the Shah and the Sultan

A bureaucrat and historian of Iranian origin, Idris-i Bidlisi (b. Ray/Iran 1457–d. Istanbul 1520), is undoubtedly one of the most original and important intellectual figures in the Ottoman?Iranian borderland in the sixteenth century. He lived in a very turbulent period and established different relationships with Iranian and Ottoman dynasties at the end of the fifteenth century and at the beginning of the sixteenth century. He and his works have been the focus of long-standing historical debates in Turkey that have continued to the present day. Until now, most modern scholarly works on Bidlisi have failed to provide a proper, in-depth textual and historical analysis. As a result, such modern works have come to present a skewed, romanticized image of Bidlisi, largely detached from the nature and dynamics of the historical context in which Bidlisi lived and evolved as an intellectual and writer. This paper provides a realistic appraisal of Bidlisi and discusses the shortcomings of modern historiography on him. By looking at Bidlisi and his corpus, and more specifically at the ways in which the latter was shaped by Bidlisi’s patronage relationships, the paper aims to open up a window into Bidlisi’s evolving mindset and worldview. In other words, through an in-depth analysis of his corpus and new archival sources the paper strives to unveil the intellectual life and career of an Iranian bureaucrat and historian positioned between Ottoman?Iranian borderland and provide a glimpse into the nature of patronage in the sixteenth century.     

The Unintended Consequences of US-led Sanctions on Iranian Industries

This paper aims to understand the consequences of US-led sanctions on two important industries in Iran: the oil and gas industry and power plant construction. Using qualitative methods and providing empirical evidence, this paper demonstrates the shortcomings of the pro-sanctions argument in the Iranian context. This paper argues that pro-sanctions literature is more inclined towards American politics; it ignores socially recurring effects such as empowering self-reliance in the target country. In the Iranian context, while sanctions regimes are beyond the control or power of industry managers, they have acted as a double-edged sword. On one hand, the sanctions have imposed extra costs on domestic companies in acquiring technological knowledge. On the other hand, they have stimulated policy-makers' determination and empowered a self-reliance doctrine amongst them.