Cinematic Portrayal of Women in Iran - Essay Example

?Running Head: Cinematic Portrayal of Women in Iran Cinematic Portrayal of Women in Iran s ] Women in Iran The Iranian revolution in the 70’s has not only changed the media-driven image of Iranian society but has had a relatively larger impact on the image of women that depict them as suppressed and shackled by Islamic fundamentalism. From the Shah’s modernization to Khomeini’s Islamization, the role of women has been equally affected by both of these political stances. However, the resilience of Iranian women and the progressive nature of the Iranian youth have played a huge role in establishing the symbiosis between traditionalism and modernity in the contemporary society. Changes in the gender role have been inevitable as the number of cultural and constitutional inequalities disturbing the social fabric of Iran keep on increasing. The role of women in the Iranian society has now become a major topic for cultural articulation that translates into their artistry particularly the art of filmmaking that has become a very reliable barometer for the overall progress and social development of Iran through the depiction of women on screen. Filmmaking in Iran has now turned into a non-confrontational mode for people to voice their opinions and shed light on the plight of women; however, filmmaking hadn’t always been about the oppression of women in the society. Iranian cinema has produced some highlysuccessful movies that often depicted women in typical roles of a mother, wife or sister and vastly the content described everyday struggles of a woman on a domestic front. Since the actual role of women in the society was principally restricted to their homes, in such circumstances films like “Dokhtar-e-Lor” that followed the life of a gypsy woman were botha novel concept and a huge success on the box office. (Lahji, 2002) However, the cinematic advancement was short-lived and after the Islamic revolution women became completely absent from the filmmaking sphere due to the law that required all women to observe Islamic attire that required them to wear a veil. Subsequent legislations also barred women from appearing in public unaccompanied, which meant that their participation in the entire society had been greatly overshadowed by patriarchy. During this time the role of women became marginalized and the movies then followed the affairs of men and subsequently, attracted negative attention from the western media that had established strict stereotypes against Iranians and the Muslim population in general. (Dabashi&Mahani, 2001) The cinema of Iran can be trichotomized into three significant events: the post-revolution period that focuses on marginalization of women and the break out of war between Iran and Iraq, then the reconstruction period and then finally Khatami’s presidency. From the year 1979 to 1984 there was a total of 40 movies that were released, out of which 29 movies were based on the feudal system and the tyrannical rule of the Shah that were particularly focused on the immorality of aristocracy and westernization. The remaining movies followed simplistic plots and carried messages regarding drug abuse, crimes and familial drama.(Dabashi&Mahani, 2001 &Lahiji, 2002)) As mentioned earlier, the movies scarcely had a female lead and even if there were any female characters then they hardly had any dialogues and were that of a silent mother or a bickering wife; the characters were covered from head to toe and ironically enough the woman’s character cannot make an appearance in the movie without the presence of her husband’s character.The work of notable filmmakers such as BahramBaizai and DaruishMehrjui that featured a headstrong female lead in all their plots were banned from being screened; two of Baizai’s movies titled “The ballad of Tara” and “Death of Yazdgerd” remains banned to this day. (Rohani, 1996) The strict legislation against the female segment of population did not provide sufficient themes for filmmakers to draw their plots from and the movies became more or less cliched in their overall themes as they began shedding light on western conspiracies and the evils of aristocracy under the Shah’s rule. The war between Iran and Iraq also sparked many filmmakers to capture the trauma triggered by the war but these war movies failed to attract any special attention from the audiences or the critics. (Tapper, 2002) The greatest critique these movies received was the fact that none of the movies featured any female artist as nurses, doctors, wives or daughters and did not discuss the impact of war on the women and how they coped with the absence of men from their households under the iron rule of the religious faction in Iran. The movies made during the post-revolution era were often criticized for lacking realism but due to the absence of statistical evidences, it is hard to comment on the box-office success of movies and firmly label it as the decline of the Iranian cinema. On the other hand, considering the social turmoil that translated on to the screen the decline was pretty obtrusive. (Tavassoli, 2002) The reconstruction era in Iran began with the end of the war in 1988 and Khomeini’s death in 1989 marked the emancipation of women and also meant that significant flexibility in the harsh policies will be introduced very soon. This was particularly good news for filmmakers such as Baizai and with this new wave he released some noteworthy movies such as “the traveller” that starred a huge ensemble of fine Iranian actress and movies like “Mother” also made their mark on the box office. However, the most important part of this era was not the fact that women were regaining their position in the media but the fact that they were becoming involved in the field of direction and other technicality of movie-making. (Lahiji, 2002) The fact that women became a huge part of the filmmaking industry off the screen was largely a necessity due to the regulation that barred them from making an appearance on-screen; notable female directors made their highly successful debuts in the vastly male dominated Iranian cinema in which Marzieh Boroumand became the pioneer. Boroumand proved herself to be an accomplished director with “The city of mice”, a puppet show that became an instant hit with the children. Although Boroumand had inaugurated the field of direction but directors like Pouran Derakhshandeh, Rakhshan Bani-Etemaad and Tahmineh Milaniopened the doors of commercial cinema for Iranian women. (Dabash&Mahani, 2001) The new creed of directors made critically acclaimed movies such as Derakhshandeh’sParandehKuchak-e Khoshbakhti that received high accolades and also won numerous awards. Like Derakhshandeh, Bani-Etemaad was recognized as one of the leading directors of her time by using sexuality as one of the themes in her movie “Narges”.Milani with her feministic values and ideals made a special place in the cinematic realm. Milani started her directorial career with Children of Divorce in 1989 and later on turned her attention to light-hearted genres by making “Afsaneh Ah” and “What else is new”; both movies were comedies that highlighted the patriarchy prevalent in the Iranian society. All three of these directors incorporated different elements in their movies but there were a number of similarities between the themes that they explored; social criticism and feministic values became a profound component of their movies. With the advent of such talented directors the void existing in the Iranian cinema due to the absence of female directors was filled and they brought about a significant revolution in the Iranian cinema. The cinema of Iran and the role of women had yet to see its pinnacle that came during Khatami’s reign; previously, the content of the movies largely revolved around the oppression of women but Khatami’s reforms reinvented on the role of women in the society and significantly changed the portrayal of women in the movies. Directors like Bani-Etemaad that had tapped upon tabooed subjects of sexuality during a time when Iran was coming to terms with the sexual urges of their youth. During Khatami’s reign, filmmakers began discussing the subject of divorce in their movies.With the legalization of “temporary marriages in Iran” there was a high rate of divorces in Iran and as a result it became an intriguing subject for discourse in movies. The movie titled “Red” starring Hediyeh Tehrani was based on the aforementioned theme of divorce; the protagonist, a frustrated housewife decides to leave her paranoid and possessive husband, and demands a divorce. The protagonist is faced with insurmountable odds and despite concoluted judiciary laws regarding divorce for women, threats from her husband and the machinations of her spiteful sister-in-law, she is able to free herself from the shackles of an abusive and a loveless marriage. The movie “Tootia” followed a similar pattern but had greater ambiguities in the structure of its plot, where the protagonist returns to her husband. Bahram Baizai also took advantage of this auspicious boom in the Iranian cinema and made “Dog killing” that was well-received by audiences as the movie discussed corruption in a patriarchic society and one woman’s struggle against it. (Dabash&Mahani, 2001) Iranian cinema had long used tabooed subjects as themes to bring about social reforms and pregnancy out of wedlock and premarital sex became important themes. Films like “Shukaran”, “I am Taraneh, 15” and “Khakeskari” all delved into the subject of premarital sex and pregnancy out of wedlock; however, instead of following the typical happy ending,theaforementioned films shed a realistic light on the subject. It shows how men are equally involved in the seduction and developing sexual intimacy in a relationship, but when it comes to shouldering the responsibility of their actions they simply escape leaving the women to bear the full brunt of the societal and familial fury. (Dabash&Mahani, 2001) Though given the opportunity to legitimize their children by marrying men chosen by their family, the protagonist raise their child alone rather than opting for a loveless marriage. Such films capitalized the development in the Iranian society and enabled the masses look these issues right in the eye. Iranian women have come a long way; from stereotypical roles, to complete absence from the screen and now they are not only acting in movies but also making. Women have played a pivotal role in paving the path for the advancement and progression of the society, which is evident with the way the cinema of Iran has evolved. References: Dabashi, H, 2001, “Close up: Iranian cinema, past, present and future”, (Reviewed by NajmehKhaliliMahani) Brooklyn: Verso Lahiji, S, 2002, “Chaste Dolls and Unchaste Dolls: Women in Iranian Cinema since 1979,”Edited by Richard Tapper, London: I.B Tauris publishers, p.215. Rohani, O,“I had No plans to Make Films about Women,Interview with DariushMehrjui”,Tehran: Zanan, 1996. pp 21-26. Tapper, R, 2002, “The new Iranian cinema: politics, representation and Identity”, London: I.B.Tauris Tavassoli, H, 2002, “Masculine War of the Iranian Cinema,” Tehran: Zanan 13 (114), pp 37-39. Read More