IRANIAN CINEMA: LIFE SPANS AND SOCIAL MOVEMENTS

IRANIAN CINEMA: LIFE SPANS AND SOCIAL MOVEMENTS 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 Ž 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 Ž lm world. I wish to explore the social and aesthetic trajectories of a select group of Iranian Ž 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 Ž 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Passages Brill

IRANIAN CINEMA: LIFE SPANS AND SOCIAL MOVEMENTS

Passages, Volume 3 (2): 228 – Jan 1, 2001

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Publisher
Brill
Copyright
© 2001 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1388-4433
eISSN
1569-1675
D.O.I.
10.1163/156916701753477795
Publisher site
See Article on Publisher Site

Abstract

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 Ž 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 Ž lm world. I wish to explore the social and aesthetic trajectories of a select group of Iranian Ž 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 Ž 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

Journal

PassagesBrill

Published: Jan 1, 2001

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