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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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The New Iranian Cinema
THE NEW IRANIAN CINEMA Politics, Representation and Identity
Edited by Richard Tapper
I.B.Tauris Publishers L O N D O N • N E W YO R K
Published in 2002 by I.B.Tauris & Co Ltd London and New York www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan a division of St. Martin’s Press 175 Fifth Avenue, New York NY 10010
Copyright © the authors, 2002 All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.
ISBN hardback 1 86064 803 7 paperback 1 86064 804 5
A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available
Typeset in Garamond by Dexter Haven Associates, London Printed and bound in Great Britain by MPG Books Ltd, Bodmin
Contents
List of Illustrations
vii
Acknowledgements
ix
Notes on Contributors
x
A Note on Transliteration and Style 1 Introduction Richard Tapper
xv 1
2 Islamizing Film Culture in Iran: A Post-Khatami Update Hamid Naficy
26
3 Classic Tools, Original Goals: Cinema and Public Policy in the Islamic Republic of Iran (1979–97) Agnès Devictor
66
4 The Crisis in the Iranian Film Industry and the Role of Government Hossein Ghazian
77
5 Perspectives on Recent (International Acclaim for) Iranian Cinema Azadeh Farahmand
86
6 Politics and Cinema in Post-revolutionary Iran: An Uneasy Relationship Ali Reza Haghighi
109
7 Dead Certainties: The Early Makhmalbaf Hamid Dabashi
117
8 A Ghost in the Machine: The Cinema of the Iranian Sacred Defence Roxanne Varzi
154
9 Negotiating the Politics of Gender in Iran: An Ethnography of a Documentary Ziba Mir-Hosseini
167
10 Location (Physical Space) and Cultural Identity in Iranian Films Mehrnaz Saeed-Vafa 200 11 Chaste Dolls and Unchaste Dolls: Women in Iranian Cinema since 1979 Shahla Lahiji
215
12 Children in Contemporary Iranian Cinema: When we were Children Hamid Reza Sadr
227
13 Marking Gender and Difference in the Myth of the Nation: A Post-revolutionary Iranian Film Nasrin Rahimieh
238
14 Afterword Laura Mulvey
254
Filmography
262
Index of Films
271
General Index
275
List of Illustrations 1. Mohsen Makhmalbaf ’s Gabbeh
2
2. Abbas Kiarostami’s The Taste of Cherry
74
3. Rakhshan Bani-Etemad’s The May Lady
102
4. Mohsen Makhmalbaf
118
5. Mohsen Makhmalbaf ’s Nasuh’s Repentance (1982) featured his own mother, Esmat Jampour 6. Ebrahim Hatamikia’s The Scent of Yusef ’s Shirt
128 156
7. Paniz, daughter of Mrs Maher, the court secretary, from Divorce Iranian Style
184
8. Rakhshan Bani-Etemad’s Nargess