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Iran Gardi

Iran Gardi The Ministry of Culture and Islamic Guidance has sponsored the popular ten-day Iran Gardi exhibition annually for the past six years. When the fair was first proposed, the Minister of Culture and now President of Iran, Mohammed Khatami, was only beginning to suggest the “cultural” shift in Iranian politics that Iran Gardi now certifies has taken place. By purposely keeping Islamic themes out of Iran Gardi, the exhibition implies the government’s belief that the traditional, the commercial, and the modern equally can produce an inherently Islamic Iran. Mohammed Atabaii of the Farabi Film Center in Tehran has noted the decline in the representation of Islamic billboards, chadors, and Islamic guards in Iranian film. The government, he says, no longer deems it necessary to foreground these Islamic markers: They will inhere in the framework of any movie of “Iran” because they are a part of the physicality of an Islamic Iran. Public Culture 11(3): 557–561 Copyright © 1999 by Duke University Press In the shift from Islamic to secular aesthetics, the revolutionary Islamic themes with which Iran was defined in the late 1970s and 1980s are being replaced by a secular paradigm of progress. But images submerged resurface just http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Public Culture Duke University Press

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Publisher
Duke University Press
Copyright
Copyright 1999 by Duke University Press
ISSN
0899-2363
eISSN
1527-8018
DOI
10.1215/08992363-11-3-557
Publisher site
See Article on Publisher Site

Abstract

The Ministry of Culture and Islamic Guidance has sponsored the popular ten-day Iran Gardi exhibition annually for the past six years. When the fair was first proposed, the Minister of Culture and now President of Iran, Mohammed Khatami, was only beginning to suggest the “cultural” shift in Iranian politics that Iran Gardi now certifies has taken place. By purposely keeping Islamic themes out of Iran Gardi, the exhibition implies the government’s belief that the traditional, the commercial, and the modern equally can produce an inherently Islamic Iran. Mohammed Atabaii of the Farabi Film Center in Tehran has noted the decline in the representation of Islamic billboards, chadors, and Islamic guards in Iranian film. The government, he says, no longer deems it necessary to foreground these Islamic markers: They will inhere in the framework of any movie of “Iran” because they are a part of the physicality of an Islamic Iran. Public Culture 11(3): 557–561 Copyright © 1999 by Duke University Press In the shift from Islamic to secular aesthetics, the revolutionary Islamic themes with which Iran was defined in the late 1970s and 1980s are being replaced by a secular paradigm of progress. But images submerged resurface just

Journal

Public CultureDuke University Press

Published: Oct 1, 1999

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