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Abstract
This article analyzes the movies produced in the two decades prior to the 1979 Revolution in Iran. It argues that these films influenced a cultural transformation we call a ‘quiet revolution.’ The Quiet Revolution refers to a new ‘national imagination’ fashioned around the idea of gharbzadegi [Westoxification]. The gharbzadegi discourse grounded an identity based public movement. It countered the autocratic modernization of Iran, in the guise of a ‘spiritual’ or pastoral other. It also positioned its own narrative as the ‘transcendent’ other of secular and modern Iran. This article focuses upon the Iranian New Wave cinema movement. It particularly discusses the works of Daruish Mehrjui, a pioneering Iranian film director of the 1960s and 1970s.
Notes
1 Jalal Al-e Ahmad ([1962] 1984) Occidentosis: A Plague from the West, trans. Robert Campbell, ed. H. Algar (Berkeley, CA: Mizan); For more details on Westoxification see: Ali Mirsepassi (2010) Political Islam, and the Enlightenment: Philosophies of Hope and Despair (Cambridge: Cambridge University Press).
2 Raymond Williams (1973) The Country and the City (New York: Oxford University Press); and Marshall Berman (1982) All That is Solid Melts into Air: The Experience of Modernity (London: Verso).
3 R. Williams, The Country, p. 43.
4 Ibid, p. 289.
5 M. Berman, All That is Solid.
6 Ibid, p. 132.
7 Ibid, p. 134.
8 Ibid, p. 139.
9 Ali Mirsepassi (2017) Transnationalism in Iranian Political Thought: The Life and Times of Ahmad Fardid (Cambridge: Cambridge University Press).
10 Hamid Naficy (2011) A Social History of Iranian Cinema, vol. 2 (Durham and London: Duke University Press), pp. 401–403. For more details on this subject, see in ibid the section on the New-Wave Films, pp. 325–431.
11 Ibid. p. 404.
12 R. Williams, The Country, p. 165.
13 M. Berman, All That is Solid Melts into Air, p. 134.
14 Ibid, p. 31.
15 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 234.
16 Landlord’s son (1957) Bulbul-e Mazra‛eh, Dir. Majid Mohseni (Tehran: Studio Diyānā Film).
17 Ali (Majid Mohseni) (1963) Parastuhā beh Lāneh Barmigardand, Dir. Majid Mohseni (Tehran: Tehran Film).
18 Jalal (Javad Qaem Maqami) (1963) Parastuhā beh Lāneh Barmigardand, Dir. Majid Mohseni (Tehran: Tehran Film).
19 H. Naficy, A Social History, vol. 2, p. 234.
20 Āghā-ye Hālu (Ali Nasirian) (1970) Āghā-ye Hālu, Dir. Dariush Mehrjui (Tehran: Studio Caspian).
21 Ibid.
22 Ibid.
23 Hamid Reza Sadr (2006) Iranian Cinema: A Political Story (London: I. B. Tauris & Co. Ltd), p. 134.
24 H. Naficy (2011) A Social History, vol. 2 (Durham and London: Duke University Press), pp. 299–300.
25 Ibid, p. 373.
26 Qaisar (Behruz Vossughi) (1968) Qaisar, Dir. Mas‛ud Kimiai (Tehran: Āryānā Film).
27 Ibid.
28 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 375.
29 Za’er Mohamad (Behruz Vossughi) (1973) Tangsir, Dir. Amir Naderi (Tehran: Sāzmān-e Cinema-ye Payām).
30 Ibid.
31 Ibid.
32 Ibid.
33 Ali Shari‛ati (1998/1377) Mazhab alayh-e Mazhab (Tehran: Ghapakhsh).
34 H. Naficy, A Social History, vol. 2, p. 302.
35 Jamal Omid (1995/1374) Tārikh-e Sinima-ye Iran, 1279–1375 (Tehran: Entesharat-e Rowzanih), p. 696.
36 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 385.
37 Qodrat (Faramarz Gharibian) (1974) Gavaznha, Dir. Mas‛ud Kimiai (Tehran: Studio Misāqiyah).
38 Ibid.
39 Ebi (Behruz Vossughi) (1975) Kandu, Dir. Fereydun Goleh (Tehran: Siyirā Film).
40 Qārun (Arman Houspian) (1965) Ganj-e Qārun, Dir. Siamak Yasemi (Tehran: Puriā Film).
41 Ali (Mohammad ‛Ali Fardin), ibid.
42 Qārun (Houspian) Ganj-e Qarun.
43 Narrator (1965) Trailer for Mu Talā’i-ye shahr-e ma, Dir. ‛Abbas Shabaviz (Tehran: Iran Film).
44 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 394.
45 Ibid, p. 395.
46 Abbas Milani (2012) The Shah (Toronto: Persian Circle), pp. 434–435.
47 H. R. Sadr, Iranian Cinema, p. 135.
48 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 355.
49 Asian Film Online, ‘Summary of the Cycle.’ Available at: https://asiapacificfilms.com/films/show/327-the-cycle, accessed August 20, 2015.
50 Quoted in Omid, Tārikh-e Sinimā-ye Iran, p. 617.
51 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 380.
52 Ali (Parvis Sayyad) (1972) Asrār-e Ganj-e Darreh-ye Jenni, Dir. Ebrahim Golestan (Tehran: Kārgah-i Film-e Golestan).
53 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 380.
54 Zeynalpur (1972) Asrār-e Ganj-e Darreh-ye Jenni.
55 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 381.
56 Ibid.
57 Ibid, p. 390.
58 Parviz Kimiavi (1973) Mogholhā, Dir. Parviz Kimiavi (Tehran: Sāzmān-e Radio va TV Milli-ye Iran).
59 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 391.
60 Hamid Dabashi (2001) Close Up: Iranian Cinema (London: Verso), pp. 27–28.
61 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 339.
62 Quoted in Omid, Tārikh-e Sinimā-ye Iran, p. 543.
63 Ibid.
64 Ibid, p. 544.
65 Ibid, p. 547.
66 Ibid, p. 548.
67 Quoted in H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 346.
68 Ibid, pp. 346–347.
69 Mash Abbas (Jamshid Mashayekhi) (1969) Gav, Dir. Dariush Mehrjui (Tehran: Vizārat-i Farhang va Hunar).
70 According to H. Dabashi, ‘There is scarcely a more loving scene in the history of Iranian cinema than the one in which Mash Hassan feeds his cow.’ H. Dabashi (2007) Masters and Masterpieces of Iranian Cinema (Washington, DC: Mage Publishers), p. 125.
71 H. Naficy, A Social History of Iranian Cinema, vol. 2, pp. 336–337.
72 Ibid, p. 337.
73 Mash Abbas (Mashayekhi) Gav.
74 H. R. Sadr, Iranian Cinema, p. 133.
75 H. Naficy, A Social History of Iranian Cinema, vol. 2, p. 339.
76 Ibid, p. 389.
77 Ibid.
78 Ibid, p. 344.
79 Ayat (Khosrow Shojazadeh) (1975) Gharibeh va Meh, Dir. Bahram Baizai (Tehran: Cinema Theater-iRexs).
80 Stranger (1975) Gharibeh va Meh, Dir. Bahram Baizai (Tehran: Cinema Theater-e Rexs).
81 Dabashi, Close Up, p. 29.
82 Ibid.
83 Ibid, p. 30.
84 R. Williams, The Country and the City, p. 46.