نوع مقاله : علمی وپزوهشی
نویسندگان
1 دانش آموخته دکترای جامعه شناسی اقتصادی و توسعه، دانشکدۀ علوم اجتماعی دانشگاه تهران
2 دانشکده علوم اجتماعی، دانشگاه تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Iranian Pre-revolutionary cinema, especially in 1960s and 1970s, has experienced many dynamics which has been transferred to cinema and other visual media after the 1979 revolution as a legacy of patterns, icons, stories, etc. However, the order resulting from the revolution, disregarding the complexities and inequalities, rejects the Pahlavi period cinema as a vulgar and westernized whole, dreamer and anti-reality. From this perspective, pre-revolutionary cinema was an "anti-popular and unpopular" cinema that, in conjunction with the established political-economic order of its time, dealt with the audience and "conformity". This study, while maintaining a critical position towards the films produced during 1960s and 1970s, tries to provide a narrative of the evolution of Iranian Pre-revolutionary cinema and to challenge the generalized ideological narratives of it through the analysis of selected films. The theoretical framework of this research is inspired by Pierre Bourdieu’s ideas about "field" and Marc Ferro’s sociological theory of the relationship between "cinema and history". In the research process, ideological critique and critical interpretation methods have been used to study 33 films that have been selected by purposive sampling. Findings show that according to the cultural programs of the Pahlavi government and other requirements of the cinema field and the macro social context, which can be classified as responding to the crisis of attracting audiences and establishing or maintaining a connection with social reality, we can speak of four distinct periods in pre-revolutionary Iranian cinema.
کلیدواژهها [English]
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