On 10th of August 1978, the last year of the Pahlavi-era, Hoseyn Alizadeh and his two friends Farajollah and Hayat, attended a screening of Massed Kimia’s The Deer (1974) at the Rex Theatre in Abadan, Iran. The film told the story of an anti-government smuggler, and only narrowly passed censorship after considerable negotiations between Kimia and the Forbidden Acts Bureau of the Iranian Government. Four years later, and half way through this particular screening, Hoseyn and Farajollah left the cinema. They closed and locked the exit doors, and then doused them with high-octane aircraft fuel. They set fire to the doors and fled. The fire burned down the entire theatre, along with their friend Hayat, and the 470 others that were watching films. …show more content…
The vast majority of the public believed the government to be responsible, but it was later discovered that Islamic revolutionaries initiated the attack in an effort to provoke anger and distaste towards the Shah. From here on, the defacing of cinemas was seen as a highly symbolic act against the Pahlavi-government — as the cinema of the time was considered to be heavily influenced by Western conventions, likened to a drug in the form of ‘injected ideology’. It’s horribly ironic that such acts occurred at a time when Iran’s opposite, paradoxical cinema, being art-cinema, was actually making its own critiques of the government. Whilst this extended to a critique of religion and social conditions, the key difference was that the critique of the filmmakers, was by no means
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
Firoozeh Dumas’ home country of Iran was, both prior and during the Iranian Revolution, vastly different than the capitalistic and also increasingly xenophobic United States, which had both its benefits and drawbacks. During each period of time that Dumas lived in the U.S. she faced hatred on the basis of her nationality and religion, most notably during the Shah’s visit to Washington, D.C. where her entire family and other Iranian families were threatened and many even violently beaten (113). Although she faced no physical trauma, Dumas was reminded of the negative attitudes towards Iranians that were even further inflamed during the hostage crisis in Tehran, leading to her hiding her heritage and her father struggling to find a job (117). On one occasion, her father was fired from a position after his employer realized that Kazem was Iranian, proving that for some ethnicity was more important than merit or skill level.
For years Western scholars and novelists have been drawn to the story, yet until now there has been no documentary. Ric Burns's film is a first.
An extreme precaution taken by the Iranian government is banning Western music, film, television, writings, and books (Iranian’s par. 1). It is believed by the Islamic leaders that all of these forms of entertainment are a “soft war” of propaganda being used against their rule
Farber, David R. Taken Hostage: The Iran Hostage Crisis and America's First Encounter with Radical Islam. Princeton, NJ: Princeton UP, 2005. Print.
Movies, one can argue, are one of America’s greatest pastimes. Unfortunately, after 9/11, films have become increasingly prejudiced against American Muslims. In movies Muslims are frequently portrayed negatively. According to James Emery, a professor of Anthropology, Hollywood profits off of “casting individuals associated with specific negative stereotypes”. This is due to the fact that viewers automatically link characters with their clichéd images (Emery). For Muslims, the clichéd image is of the violent fundamentalist, who carried out the terroristic attacks on 9/11. As a result, the main stereotypes involved in movies display Muslims as extremists, villains, thieves, and desert nomads. An example of a movie that has such a negative character role for Muslims in film is Disney’s cartoon Aladdin, depict...
These days more and more audience like to see their beloved actors and actresses portray superhero or heroine figure in spandex suit blasting laser beam from their eyes, turn into fire then fly away to outer space, or even a scientist who turn into a huge, green, car-throwing, head-smashing monster with indestructible pants when he transforms. But not small amount audience like films with classical-antiquity geographical and timeline set such as Ben-Hur, 300, Spartacus, etc. Antiquity and modernity always be an important part in filmmaking, whether in its screenplay, set design or character design. In some movies these aspect can be shown separately or combined in sort of a new way in filmmaking.
The group of students claim that attack was carried out because of all of the prior years of US attempt of reform on Iran (Bryne). However, others claim that the attack was motivated by the US treatment of the Shah. These two motives were enough for the students to take their anger out on the people occupying the US Embassy. The government was not aware of the attack beforehand, however they did side with conspirators for political reasons, along with the people of Iran (Bryne). President Jimmy Carter did not let the Shah in because for political reasons, but for humanitarian reasons (Iran Crisis). Although President Carter had good intentions by doing this it unleashed a dislike toward Americans in the minds of of almost every Iranian (Iran Crisis). Underlying the attack on the United States Embassy were anti-American and anti-Carter
The introduction to Persepolis gives a great deal of background information to the unrest in Iran leading up to the Islamic revolution. Iran had been in a state of unrest for “2500 years” (page11). Iran was ruled by foreign nations and exploited by the western world for its rich expanses of oil. In 1951 the prime minister of Iran tried to take back his country’s wealth by nationalizing
Media texts are created from past events that have occurred and often times Hollywood would try and manipulate the event so it represents the past and the reception it gets through different communities. The film Argo (2012) is no exception trying to show a “Hollywoodize” event of the Iranian Hostage Crisis which received mixed receptions and is controversial on how the event is portrayed. The film is often criticized for the authenticity and accuracy of how the event is portrayed; the film directed by Ben Affleck chose to add “drama” and manipulate the actual event in order to obtain a wider audience. With the film involving a variety of government during the hostage crisis, the film focuses only specific on U.S. government and Canadian government. The film focuses on showcasing how powerful C.I.A. and American government is. While the Canadian government portrayed played a minor role in the film and other governments was not even mention. The film was criticized by United States, Canada, and British and New Zealand’s critics for the role each country had in the film as it shows the film is deceptive in telling the truth and accuracy of the event. United States had its role glorified that it seemed to have done most of the work; while Canada had its role minimized, and that the film was made out to have a small role that Canada had with United States, but some countries like New Zealand was not even mentioned. Therefore, with the mixed reception the film received it makes the understanding of Iranian Hostage Crisis on how that event better understands the role of government in cinema is shown between countries: U.S., British and New Zealand, and Canada.
In the 1970’s Iran, under Shah Mohammad Reza Pahlavi was a very centralized military state that maintained a close relationship with the USA. The Shah was notoriously out of touch with working class Iranians as he implemented many controversial economic policies against small business owners that he suspected involved profiteering. Also unrestricted economic expansions in Iran lead to huge government expenditure that became a serious problem when oil prices dropped in the mid 1970’s. This caused many huge government construction projects to halt and the economy to stall after many years of massive profit. Following this was high rates of inflation that affected Iranians buying power and living standards. (Afary, 2012) Under the Shah, political participation was not widely available for all Iranians and it was common for political opposition to be met with harassment, illegal detention, and even torture. These measures were implemented by the Iranian secret police knows as ‘SAVAK’. This totalitarian regime combined with the increasing modernisation of the country paved the way for revolution.
Cult and Independent Films A cult film or cult classic is a piece of film work that has gained an audience following that can be classified as ‘cult’. A cult following is usually identifiable through the dedication and passion of the fan base that has lead to the establishment of a subculture. Cult films are usually screened repeatedly at small independent cinemas and encourage audiences to quote dialogue and other types of audience participation. Cult films are usually box office bombs that were ridiculed by a mainstream audience and required the cult classification to be accepted. Cult films are usually influenced by the term ‘art film’ and aim to be art rather than entertainment.
In the year 700 BC, the city-state of Athens, Greece became institutionalized. During this time Athens, gained much military power, which allowed the city-state to become significant culturally and politically. During the institutionalization of this Athens, the city-state took part in festival called Dionysia. The Dionysia festival honored the god Dionysus. Before some of the performances, goats were killed and offered up as sacrifices to Dionysus. During the Dionysia festival the central events consisted of theatrical performances and comedies as well as theatrical performances from 487 BC. Athens was considered to be the main center that held theatrical traditions. Athenians spread these festivals to its numerous allies, in order to promote
The older of the two, Ancient Greece was a civilization for three centuries, from 800 B.C. to 500 B.C. Ancient Greece advanced in art, poetry, and technology. More importantly, Ancient Greece was the age where the polis, or city-state, was invented. The polis was a defining feature in Greek political life for a few hundred years (Ancient Greece).
The tragedy was a large part of people's lives in ancient Greece. Tragedies became prominent long before Christ was born. A tragedy, or goat-song, usually were seen during festivals in ancient Greek times. Tragedies gradually increased in seriousness until they were given utmost importance. Greek tragedies began at a festival in honor of a god, there were three great tragic authors, and all tragedies include a tragic situation.