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This book examines transformations in the production and domestic
and international reception of Iranian cinema between 2000 and 2013
through the intersection of the political markers - the
presidential terms of Reformist president Mohammad Khatami and his
successor, the conservative Mahmoud Ahmadinejad - and filmic
markers, particularly Jafar Panahi's The Circle (2000) and Asghar
Farhadi's About Elly (2009). Through extensive field and media
research, the book considers the interaction of a range of factors
including government policy, Iranian national cinema genres and
categories, intended audience, funding source, and domestic and
international reception, to demonstrate the interplay between
filmmakers and the government over these two successive
presidencies. While the impact of politics on Iranian filmmaking
has been widely examined, this work argues for a more nuanced
understanding of politics in and of the Iranian cinema than has
generally been previously acknowledged. Drawing on both personal
experience as a juror at the Fajr International Film festival and
interviews with significant filmmakers, producers, actors and other
industry insiders, including senior bureaucrats and politicians,
the volume is a key resource for anyone interested in politics and
Iranian cinema.
This book examines transformations in the production and domestic
and international reception of Iranian cinema between 2000 and 2013
through the intersection of the political markers - the
presidential terms of Reformist president Mohammad Khatami and his
successor, the conservative Mahmoud Ahmadinejad - and filmic
markers, particularly Jafar Panahi's The Circle (2000) and Asghar
Farhadi's About Elly (2009). Through extensive field and media
research, the book considers the interaction of a range of factors
including government policy, Iranian national cinema genres and
categories, intended audience, funding source, and domestic and
international reception, to demonstrate the interplay between
filmmakers and the government over these two successive
presidencies. While the impact of politics on Iranian filmmaking
has been widely examined, this work argues for a more nuanced
understanding of politics in and of the Iranian cinema than has
generally been previously acknowledged. Drawing on both personal
experience as a juror at the Fajr International Film festival and
interviews with significant filmmakers, producers, actors and other
industry insiders, including senior bureaucrats and politicians,
the volume is a key resource for anyone interested in politics and
Iranian cinema.
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