Book contents
- Iran’s Quiet Revolution
- The Global Middle East
- Iran’s Quiet Revolution
- Copyright page
- Contents
- Acknowledgments
- Note on Transliteration
- Introduction
- 1 The Allure of the “Anti-modern”
- 2 De-politicizing Westoxification:
- 3 Ehsan Naraghi:
- 4 Iranian Cinema’s “Quiet Revolution” (1960s–1970s)
- 5 A Garden between Two Streets:
- 6 The Shah as a “Modern Mystic”?
- 7 The Imaginary Invention of a Nation:
- 8 An Elective Affinity:
- Bibliography
- Index
4 - Iranian Cinema’s “Quiet Revolution” (1960s–1970s)
Published online by Cambridge University Press: 23 August 2019
- Iran’s Quiet Revolution
- The Global Middle East
- Iran’s Quiet Revolution
- Copyright page
- Contents
- Acknowledgments
- Note on Transliteration
- Introduction
- 1 The Allure of the “Anti-modern”
- 2 De-politicizing Westoxification:
- 3 Ehsan Naraghi:
- 4 Iranian Cinema’s “Quiet Revolution” (1960s–1970s)
- 5 A Garden between Two Streets:
- 6 The Shah as a “Modern Mystic”?
- 7 The Imaginary Invention of a Nation:
- 8 An Elective Affinity:
- Bibliography
- Index
Summary
This chapter examines the political and social importance of Iranian cinema in the 1960s and 1970s, as part of the socially wider discursive shift in the Iranian political culture of the period. It analyzes the “New Wave” movies produced in the two decades preceding the 1978–9 Revolution. These cinematic images and narratives, we argue, contributed to shaping the Iranian public’s perceptions of the modernization process that was taking place in their country at the time. New Wave cinema helped to influence the broader cultural transformation that we call the “quiet revolution.” The Quiet Revolution, in this chapter, refers to a “national imagination” that was fashioned in Iranian cultural institutions, as well as in intellectual circles, during the late 1960s and 1970s.
- Type
- Chapter
- Information
- Iran's Quiet RevolutionThe Downfall of the Pahlavi State, pp. 107 - 132Publisher: Cambridge University PressPrint publication year: 2019