Thesis (M.A.) from the year 2009 in the subject Orientalism /
Sinology - Islamic Studies, grade: 85, Ben Gurion University,
course: The 1979 Iranian Revolution: A Thirty-Year Perspective,
language: English, abstract: An analysis of the recent development
of Iranian Cinema should primarily mention its origins and history,
especially since Iranian cinema always has been so closely linked
to the political circumstances dominating the social reality. Its
outset is generally accepted to have begun around 1900, when Mirza
Ebrahim Khan Akkas Bashi, the official photographer of Muzaffar
al-Din Shah, shot the first Iranian documentary.... As Richard
Tapper states in his work, The New Iranian Cinema, "both government
and religious authorities sought to control the images to be shown
publicly." 'Formal censorship' began in the 1920s, when the
imported films exhibiting women, sex and amusement dominated the
Iranian market. In contrast to this permissive attitude, depicting
the political or social reality critically in local productions was
taboo. Until the Second World War "nothing worthy of being called
'national cinema'" was produced. In these decades, Iranian films
were mainly remakes of foreign works, mainly Indian or Egyptian,
and normally they lacked artistic quality. This genre of films is
known as "Film Farsi." Along with the development of film comes the
history of censorship, which tries to curb the freedom of
expression in increasingly institutionalized manners. Indeed, in
1950 a committee for the supervision of locally produced or
imported films was established. This might have contributed to the
fact that in the 1950s and 1960s, next to the import of American
and Indian films, only "commercial films" were famous in Iran,
whose sole aim was to entertain and to fill the cash tills. In this
period too, the censorship worried more about the expression of
political opinions than about the demonstration of sex. However, on
the edge of mainstream productions s
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