Hamid Naficy, the Sheikh Hamad Bin Khalifa Al-Thani Professor in the School of Communication, is a scholar of Iranian cinema and exile and diaspora in media. Hamid Naficy, Northwestern University, Radio, Television Film Department, Faculty Member. Studies Anthropology, Media Studies, and Film Studies. View Hamid Naficy Research Papers on for free.
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This marvellously detailed account of Iranian cinema is a must-read for anyone who is interested in understanding Iran in the past and present, a true hamkd of a long-term, ongoing revolution in Iranian culture, society and film.
Rather, at times, Naficy openly signals that more research is still to be conducted into certain areas ensuring that the field of Iranian cinema studies may live on with vital and vibrant energy. Graduate students in particular should take heed of these openings in the text, for therein lie great possibilities for future, compelling and original scholarship in the field I can only conclude my review by emphasizing what I said in my opening comment: For students of Iranian cinema, I can think of no better place to begin than these four volumes.
Only a skilled historian, one who is on the inside of his story, could convey so vividly the symbolic significance of cinema for twentieth-century Iran and its deep intertwining with national culture and politics. Stillness and the Moving Image.
Based on his deep understanding of modern Iranian political and social history, this detailed critical study of cinema in Iran since its debut more than a century ago is his crowning achievement.
To say that it is a must-read for virtually all concerned with modern Iranian history, and not just cinema and the arts, is to state the obvious. Ancient, Mediaeval and Modern Iran.
Situating film within its sociopolitical context, Hamid Naficy covers the period leading up to the Constitutional Revolution and continues after the Hami Revolution, examining questions about modernity, globalization, Islam, and feminism along the way. A Social History of Iranian Cinema is a guide nadicy our thinking about cinema and society and the ways that the creative expression of film should be examined as part of a wider engagement with social issues.
The Internet naficcy Politics in Iran. If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions dukeupress.
For book covers to accompany reviews, please contact the publicity department. Instructions for requesting an electronic text on behalf of a student with disabilities are available here. This comprehensive social history naficj across four volumes, each of which can be appreciated on its own.
Volume 1 depicts and analyzes the early years of Iranian cinema. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged.
The presence of women, both on the screen and in movie houses, proved controversial untilwhen Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling untilReza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country.
Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled.
Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country beforefour were made by an Iranian expatriate in India.
The Artisanal Era, — Volume 2: The Industrializing Years, — Volume 3: The Islamicate Period, — Volume 4: The Globalizing Era, naficyy He is the author of An Accented Cinema: Iranian Television in Los Angelesand in Persian Film-e Mostanada two-volume history of nonfiction cinema around the world. Naficy helped to launch ongoing annual Iranian film festivals in Los Angeles hamiid Houston.
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Close Up and Far Away: The Life of Film Scholar Hamid Naficy by Maryam Sepehri — Kickstarter
The Artisanal Era, Author s: How It All Began xxix Introduction. Artisanal Silent Cinema in the Qajar Period 27 2.
Ideological and Spectatorial Formations 71 3. State Formation and Nonfiction Cinema: Syncretic Westernization during the First Pahlavi Period 4. Permission to Photocopy coursepacks If you are requesting permission to photocopy nafkcy for classroom use, please contact the Copyright Clearance Center at copyright. Disability Requests Instructions for maficy an electronic text on behalf of a student with disabilities are available here.
If book has an editor that is different from the article author, include editor’s name also. Title of the journal article or book chapter and title of journal or title of book 3. Page numbers if excerpting, provide specifics For coursepacks, please also note: The number of copies requested, the school and professor requesting For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought. View additional nadicy and download publicity materials.
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