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IRANIAN CINEMA: LIFE SPANS AND SOCIAL MOVEMENTS W illiam O ver St. John’s University Pheng Cheah (1977) observes that the validity of any global intu- ition “depends on the constellation of forces at a given conjuncture rather than an ideal or imagined horizon of all-inclusive universality which that vision has managed to grasp” ( pp. 265–266). Recent Iranian lmmakers have explored their “constellation of forces” with depth and subtlety, revealing the multivalent search for cultural identity within a matrix of local convention and a globalized culture. During the 1990s the Iranian cinema, and possibly the Chinese, became the most vital in the lm world. I wish to explore the social and aesthetic trajectories of a select group of Iranian lmmakers. Their works engage the cul- tural and economic forces, global and local, that have steered Iran’s passage from an obedient Western (U.S.) client state to a fundamen- talist revolutionary nation, and nally to a globalized society in uenced at once by the centripetal forces of transnational capital, religious tra- dition, and secular humanism. Avoiding Hollywood formula imitations, fashion, celebrity, and innocuous subject matter, these directors move carefully within increasingly more lenient parameters of government
Passages – Brill
Published: Jan 1, 2001
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