{"product_id":"a-social-history-of-iranian-cinema-volume-2-9780822347552","title":"A Social History of Iranian Cinema Volume 2","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eSocial history of Iranian cinema that explores cinema's role in creating national identity and contextualizes Iranian cinema within an international arena.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“While the first two volumes that I have had the pleasure to review here are indeed comprehensive, covering great depth and breadth, I find Naficy to be a very open, collegial scholar whose work certainly does not close down the field. Rather, at times, Naficy openly signals that more research is still to be conducted into certain areas ensuring that the field of Iranian cinema studies may live on with vital and vibrant energy. Graduate students in particular should take heed of these openings in the text, for therein lie great possibilities for future, compelling and original scholarship in the field.... I can only conclude my review by emphasizing what I said in my opening comment: this is rich, compelling, and complex scholarship at its very finest. Thanks Hamid!”\u003cbr\u003e - Michelle Langford, \u003ci\u003eSenses of Cinema\u003c\/i\u003e\u003cbr\u003e“These volumes reveal the unspoken side of Iranian culture, society and history within the context of film and cinema. This marvellously detailed account of Iranian cinema is a must-read for anyone who is interested in understanding Iran in the past and present, a true story of a long-term, ongoing revolution in Iranian culture, society and film.” - Arezou Zalipour, \u003ci\u003eMedia International Australia\u003c\/i\u003e\u003cbr\u003e“\u003ci\u003eA Social History of Iranian Cinema\u003c\/i\u003e is an extraordinary achievement, a scholarly, detailed work in which a massive amount of material is handled with the lightest touch. Yet it is Hamid Naficy’s personal experience and investment that give this project a particular distinction. Only a skilled historian, one who is on the inside of his story, could convey so vividly the symbolic significance of cinema for twentieth-century Iran and its deep intertwining with national culture and politics.”—\u003cb\u003eLaura Mulvey\u003c\/b\u003e, author of \u003ci\u003eDeath 24× a Second: Stillness and the Moving Image\u003c\/i\u003e\u003cbr\u003e“Hamid Naficy is already established as the doyen of historians, as well as critics, of Iranian cinema. Based on his deep understanding of modern Iranian political and social history, this detailed critical study of cinema in Iran since its debut more than a century ago is his crowning achievement. To say that it is a must-read for virtually all concerned with modern Iranian history, and not just cinema and the arts, is to state the obvious.”—\u003cb\u003eHoma Katouzian\u003c\/b\u003e, author of \u003ci\u003eThe Persians: Ancient, Mediaeval and Modern Iran\u003c\/i\u003e\u003cbr\u003e“Hamid Naficy seamlessly brings together a century of Iran’s cinematic history, marking its technological advancements and varying genres and storytelling techniques, and perceptively addressing its sociopolitical impact on the formation of Iran’s national identity. \u003ci\u003eA Social History of Iranian Cinema \u003c\/i\u003eis essential reading not only for the cinephile interested in Iran’s unique and rich cinematic history but also for anyone wanting a deeper understanding of the cataclysmic events and metamorphoses that have shaped Iran, from the pivotal Constitutional Revolution that ushered in the twentieth century through the Islamic Revolution, and into the twenty-first century.”—\u003cb\u003eShirin Neshat\u003c\/b\u003e, visual artist, filmmaker, and director of the film \u003ci\u003eWomen Without Men\u003c\/i\u003e\u003cbr\u003e“This magisterial four-volume study of Iranian cinema will be the defining work on the topic for a long time to come. Situating film within its sociopolitical context, Hamid Naficy covers the period leading up to the Constitutional Revolution and continues after the Islamic Revolution, examining questions about modernity, globalization, Islam, and feminism along the way. \u003ci\u003eA Social History of Iranian Cinema\u003c\/i\u003e is a guide for our thinking about cinema and society and the ways that the creative expression of film should be examined as part of a wider engagement with social issues.”—\u003cb\u003eAnnabelle Sreberny\u003c\/b\u003e, coauthor of \u003ci\u003eBlogistan: The Internet and Politics in Iran\u003c\/i\u003e\u003cbr\u003e“These volumes reveal the unspoken side of Iranian culture, society and history within the context of film and cinema. This marvellously detailed account of Iranian cinema is a must-read for anyone who is interested in understanding Iran in the past and present, a true story of a long-term, ongoing revolution in Iranian culture, society and film.” -- Arezou Zalipour * Media International Australia *\u003cbr\u003e“While the first two volumes that I have had the pleasure to review here are indeed comprehensive, covering great depth and breadth, I find Naficy to be a very open, collegial scholar whose work certainly does not close down the field. Rather, at times, Naficy openly signals that more research is still to be conducted into certain areas ensuring that the field of Iranian cinema studies may live on with vital and vibrant energy. Graduate students in particular should take heed of these openings in the text, for therein lie great possibilities for future, compelling and original scholarship in the field.... I can only conclude my review by emphasizing what I said in my opening comment: this is rich, compelling, and complex scholarship at its very finest. Thanks Hamid!”\u003cbr\u003e -- Michelle Langford * Senses of Cinema *\u003cbr\u003e“The four volumes of \u003ci\u003eA Social History of Iranian Cinema\u003c\/i\u003e constitute a landmark achievement. . . . For students of Iranian cinema, I can think of no better place to begin than these four volumes. The sheer expansiveness of Naficy’s project is a testimony to the untold narratives, theoretical paradigms, and concepts waiting to be found in the ongoing history of Iranian cinema.\" -- Sara Saljoughi * International Journal of Middle East Studies *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eList of Illustrations ix\u003cbr\u003e Acknowledgments xiii\u003cbr\u003e Organization of the Volumes xxi\u003cbr\u003e A Word about Illustrations xxvii\u003cbr\u003e List of Abbreviations xxix\u003cbr\u003e 1. International Haggling over Iranian Public Screens 1\u003cbr\u003e 2. The Statist Documentary Cinema and Its Alternatives 49\u003cbr\u003e 3. Commercial Cinema's Evolution: From Artisanal Mode to Hybrid Production 147\u003cbr\u003e 4. Family Melodramas and Comedies: The Stewpot Movie Genre 197\u003cbr\u003e 5. Males, Masculinity, and Power: The Tough-Guy Movie Genre and Its Evolution 261\u003cbr\u003e 6. A Dissident Cinema: New-Wave Films and the End of an Era 325\u003cbr\u003e Notes 433\u003cbr\u003e Bibliography 473\u003cbr\u003e Index 497","brand":"MD - Duke University Press","offers":[{"title":"Default Title","offer_id":51534991032663,"sku":"9780822347552","price":124.76,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780822347552.jpg?v=1755858515","url":"https:\/\/bookcurl.com\/products\/a-social-history-of-iranian-cinema-volume-2-9780822347552","provider":"Book Curl","version":"1.0","type":"link"}