Illustrations  xi

Acknowledgments  xv

Organization of the Volumes  xxi

A Word about Illustrations  xxvii

Abbreviations  xxix

1. The Resurgence of Nonfiction Cinema: Postrevolutionary Documentaries and Fiction War Films  1

2. Under Cover, on Screen: Women's Representation and Women's Cinema  92

3. All Certainties Melt into Thin Air: Art-House Cinema, a "Postal" Cinema  175

4. Emergent Contestatory Films, Media Culture, and Public Diplomacy  269

5. Iranian, but with a Different Accent: A Cinema of Displacement or a Displaced Cinema?  369

Appendix A: Iranian Films in Distribution  513

Appendix B: Film House of Iran's Film Collection  515

Appendix C: International Film and Video Center Iranian Film Collection  520

Notes  523

Bibliography  559

Index  591

“...this fascinating and absorbing book combines an informed interpretation of the social history of Iran from 1984 to 2010 with a deep firsthand knowledge of Iranian films...Highly recommended.”—W. L. Hanaway, Choice

“...this fascinating and absorbing book combines an informed interpretation of the social history of Iran from 1984 to 2010 with a deep firsthand knowledge of Iranian films...Highly recommended.”—W. L. Hanaway, Choice

"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."—Homa Katouzian, author of The Persians: Ancient, Mediaeval and Modern Iran

"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. A Social History of Iranian Cinema 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."—Annabelle Sreberny, coauthor of Blogistan: The Internet and Politics in Iran

"A Social History of Iranian Cinema 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."—Laura Mulvey, author of Death 24× a Second: Stillness and the Moving Image

"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. A Social History of Iranian Cinema is 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."—Shirin Neshat, visual artist, filmmaker, and director of the film Women Without Men

Permission to Photocopy (coursepacks)

If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

Permission to Reprint

If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

Images/Art

Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
For book covers to accompany reviews, please contact the publicity department.

Subsidiary Rights/Foreign Translations

If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

Disability Requests

Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

Rights & Permissions Contact Information

Email: permissions@dukeupress.edu

Email contact for coursepacks: asstpermissions@dukeupress.edu

Fax: 919-688-4574

Mail:
Duke University Press
Rights and Permissions
905 W. Main Street
Suite 18B
Durham, NC 27701

For all requests please include:

1. Author's name. If book has an editor that is different from the article author, include editor's name also.

2. Title of the journal article or book chapter and title of journal or title of book

3. Page numbers (if excerpting, provide specifics)

For coursepacks, please also note: The number of copies requested, the school and professor requesting

For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought