World Cinema - Essay Example

?Introduction The concept of presenting specific ideals and expressions is at the root of film and cinema. Beyond the need to provide levels of entertainment to those who are spectators to cinema, is also the need to create philosophies and statements that relate to society and culture. The Iranian cinema is an example of how the social and cultural perspectives and challenges are represented in the cinema. Questions of politics and religion in Iranian cinema can’t be separate from any of the films that are produced in the region. These are intertwined with the representation of culture, society’s identity and the belief systems that are continuously challenged within the region. Each era has specific approaches to religion and politics with the cinema, all which are a reflection of society at the time. Silent Era The first era of cinema that noted the religious and political views in Iranian cinema was with the silent era. The silent era was attributed to the years of 1900 - 1930 with a combination of documentaries and fictional settings that were used. The footage that was used for these specific films consisted of footage news, events and spectacles that were related specifically to royalty. These different clips were combined together to show historical accounts of what were occurring during a specific time and how this linked to the identity that was a part of the Iranian culture. The concept was combined with the ability to shoot rituals, religious events and to show the diversity of culture in the area, such as with investigations of Christianity and by looking at ethic and religious minorities. This approach was able to provide insight into the time frame while allowing a new type of history and sense of identity to take place through the political and religious concepts (Smith, 2006). Sound Era The foundation of film in the silent era led to new technical innovations that were approached in the sound era. However, this point also focused on the same ideals of religion and politics, specifically because it was a representation of the identity of those that were spectators to the film. The silent era had established this with the different approaches which were taken to showing the non – fiction elements of the film. From the 1930s and until the 1970s, there was a focus on providing insight into the different topics which were associated with the film. The main ideology was to present the socially engaged film, specifically which was highlighted in the 1960s. This was based on showing the realities of the Iranian culture, such as through minority groups and those which were suffering because of the current political regime and religious laws. The ideas were combined with the religious morality that was based on the Islamic practices, specifically with the belief that bringing the information to the public would also lead to a day of judgment for those who had turned away from the social issues which were at hand (Ridgeon, 2003). The concept of the “day of judgment” and the approach to religion and politics from this perspective led to the growing ideology of the third world of cinema as well as the Muslim ideologies that were engrained in the culture. The themes which were used in each of the films helped to bring light to the current issues which had been raised as well as created a sense of justice that was a part of the religion and politics. However, this was combined with the deeply embedded belief systems in the culture. The concept of religion, belief in the Quran and the continuous teachings were known and praised throughout society. The Iranian culture was expected to live under these religious beliefs, which is what created the differences and changes that were a part of society. The concept of building a Muslim ideology from the movies, while showing the concept of justice, then became intertwined with the films that were a part of the sound era (Ahmad, 2010). Modern Era The new wave, or modern era of cinema, began in the 1960s and led into 1978 with new challenges that were presented in the world of film. The difference in this time period came from the concept and understanding that film was not only based on the ideologies of religion and politics that were within the culture. Instead, there was also an association with the concept of global film and the ability to build economic value that was within the society. However, this development remained distinguished because of the support of recognizing the political regime and the deeply embedded belief systems that were associated with the Islamic religion. However, the tradition and culture remained more embellished while the concept of politics was limited, specifically because of the government interference with several of the parts of the cinema. As the government interfered with the cinema world for the economic benefits, there were changes and limitations in the statements which were made, leaving to shifts in the idea of the culture, specifically to create undertones with the politics while limiting the statements that were associated with the film (Hamid, 2006). Examples of Politics and Religion To create the different values within society in each era while creating changes within the film were several that not only made direct statements about the political and religious statements. There were also other subtle and symbolic messages which were sent that were noticed within the culture because of the historical past and the expectations that were associated with the political and religious regime. The concept of creating a counterculture within the film that was based on the symbolism and deeper meanings became a strong component of each of the films. For instance, Baran uses films where he makes references to both the Quran and the Bible, such as the association with Adam and Eve that come from a culture which refuses to accept them. This is followed by symbolism associated with religious beliefs which most in the culture could understand; however, it would take knowledge of the roots of Iranian society to create deeper meaning from these religious connotations (Dabashi, 2001). A film maker which was able to refer to this was Hajir Darioush, through films such as through his 1972 film, Bita. This was his first film and was based specifically on the political injustices and the religious beliefs which were in society. This was specifically related to the concepts of women in society and the social barriers which women were presented with. The film shows how the woman has to move through a culture that doesn’t accept women, either through the religious belief system or the political realm which led to a sense of subjection with women. Even though the film doesn’t directly point to politics or religion, there is an understanding of the laws, expectations and deeply rooted beliefs of the women in the country. This creates the main tension, not only from the struggles of Bita, but also because the spectators are forced to challenge their own ideologies in relation to religion, politics and suppression within society (Ali, 1989). Another representation that occurred with the film was in the sound era and came from the director, Forough Farrokhzad. The approach which was taken by this director was based on the same social challenges which were made by Darioush. Her well – known work is “Moon Sun Flower Game” which included a documentary about her son and the forced change to have him adopted. Farrokhzad’s works not only included documentaries, but also led to writings that opposed the social repression of the time while questioning the belief systems in Iran. Her ideologies were strong enough to be banned from Iran after the revolution while her poetry and other writings were considered as radical behavior (Hillman, 1990). The approach which was taken by Farrokhazd was one which was able to question the idea of fundamentalism, both in Islam and in the combined forces within the Iranian government. Her work was a representation of how the government and religious beliefs were able to invite the destruction and repression of individual lives while making it difficult for individuals to continue to live in the world without completely conforming to the fanatical values that were imposed by religion and politics (Bhatty, 2002). Each of these films relate directly to the concept of belonging in a culture that is known for the deep devotional aspects of the Islamic religion as well as the ties that are made with the government. From the silent era and through the new film, was the display of how these intertwined, making it the main subject of cinema. The Iranian film furthered this with ideologies of how the concept of film was intertwined with beliefs, even when the main subject was related to another sense of the feature film. The use of symbolism, as well as the implications which this meant were able to speak too the audience who looked for the deeper meaning in the films. More important, those that were of a different status were able to create a specific relationship to the film that directly pointed fingers at the religious concepts, fanaticism and the governmental relationships to those in the Iranian society. The ideal was to create a direct relationship to the history while building an understanding of how the politics and religion created the culture of Iran (Dwyer, 2010). Conclusion The concept of film in Iranian cinema is one which is based on themes and materials which relate directly to the audience. When looking at the various films of different eras, it can be seen that the driving materials are from the relationship to Islamic belief and the political regime. This changed from showing the facts of what was occurring through the silent era and into the new cinema, which created symbolism and a relationship to society through the political and religious fanaticism that was a part of the time frame. Each of these was able to combine different elements of the politics and religion, either through undertones of the film or through direct significance to history and beliefs. These statements then led to a direct sense of identity that was a part of the Islamic film and the combined understanding of how society had formed with these two ideologies. References Ahmad, Ali. 2010. “Is there a Muslim World?”, Third Text, n.102,pp.1-9. Ali, Issari. 1989. Cinema in Iran New York: Scarecrow Press pg. 188. Bhatty, Robin. 2002. “Isiamic Fundamentalism at war against America- New Documentaries on Religion and Politics in the Islamic World”, Cineaste 27:2,pp.20-23 Dabashi, Hamid. 2001. Close Up: Iranian Cinema, Past, Present and Future (London and New York: Verso) 27-29 Dwyer, Rachel. 2010. “I am crazy about the Lord: the Muslim devotional genre in Hindi film”, Third Text, n.102, pp.123-134 Hamid, Naficy. (2006). “Iranian Cineama” in Nowell-Smith, G. (ed.) The Oxford History of World Cinema. Oxford: Oxford University Press. Hillman, Michael. (1990) An Autobiographical Voice: Forough Farrokhzad in Women’s Autobiographies in Contemporary Iran Boston: Harvard University Press. Ridgeon, Lloyd. 2003. “The Islamic Apocalpse: Mohsen Makhmalbaf’s Moment of innocence”, in Representing Religion in World Cinema, ed. S.Brent Plate. New York: Palgrave Macmillan. Pp 145-158. Read More