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Shi'i Islam in Iranian Cinema: Religion and Spirituality in Film
In recent years there has been a remarkable surge in Iranian films expressing contentious issues which would otherwise be very difficult to discuss publicly inside the Islamic Republic of Iran - such as the role of clergy in Iranian society. Nacim Pak-Shiraz here highlights how many Iranian film directors concern themselves with the content of the religious and historical narratives of culture and society, sparking debate about the medium's compatibility or incongruity with religion and spirituality. She explores the various ways that Shi'i discourse emerges on screen, and offers groundbreaking insights into both the role of film in Iranian culture and society, and how it has become a medium for exploring what it means to be Iranian and Muslim after thirty years of Islamic rule. This is invaluable reading students and scholars of Film Studies and contemporary Iranian cinema, but also of the culture and identity of Iran more widely.
- GenresIran
256 pages, Hardcover
First published January 1, 1999
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March 13, 2023
Rereading all the shiite bullshite I was taught in school and college was agonizing, but it was essential for argument.
Author begins by tracing the historical ascent of Shiism in Iran throughout the Safavid Dynasty, which culminated in the Islamic Revolution in 1979, before turning to the question of essence of cinema as posed by a number of Heidegger-influenced Iranian critics. She then moves on to a discussion of how two films portray clergies, contrasting the clerical lifestyle with that of the lay population. Following that she discusses how Majid Majidi's films give a mystical touch to his movies, before discussing Taziyeh in Beyzai's films. Last but not least, she gives the films of Abbas Kiarostami a religious interpretation.
There is no in-depth discussion of filmmaking techniques. It is all about the interpretation and representation of the Shiite or Managara/religious cinema in Iran. For some unknown reasons, the author chose to just address a select number of cinema directors when discussing their films, even though discussing more would have made for a more interesting read.
Author begins by tracing the historical ascent of Shiism in Iran throughout the Safavid Dynasty, which culminated in the Islamic Revolution in 1979, before turning to the question of essence of cinema as posed by a number of Heidegger-influenced Iranian critics. She then moves on to a discussion of how two films portray clergies, contrasting the clerical lifestyle with that of the lay population. Following that she discusses how Majid Majidi's films give a mystical touch to his movies, before discussing Taziyeh in Beyzai's films. Last but not least, she gives the films of Abbas Kiarostami a religious interpretation.
There is no in-depth discussion of filmmaking techniques. It is all about the interpretation and representation of the Shiite or Managara/religious cinema in Iran. For some unknown reasons, the author chose to just address a select number of cinema directors when discussing their films, even though discussing more would have made for a more interesting read.
Displaying 1 of 1 review