"Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, [this four-volume set] explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran."--P. [4] of cover.
"Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, [this four-volume set] explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran."--P. [4] of cover.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hamid Naficy is Professor of Radio-Television-Film and the Hamad Bin Khalifa Al-Thani Professor in Communication at Northwestern University. He is the author of An Accented Cinema: Exilic and Diasporic Filmmaking, The Making of Exile Cultures: Iranian Television in Los Angeles, and (in Persian) Film-e Mostanad, a two-volume history of nonfiction cinema around the world. Naficy helped to launch ongoing annual Iranian film festivals in Los Angeles and Houston.
Inhaltsangabe
List of Illustrations ix Acknowledgments xiii Organization of the Volumes xxi A Word about Illustrations xxvii Preface. How It All Began xxix Introduction. National Cinema, Modernity, and Iranian National Identity 1 1. Artisanal Silent Cinema in the Qajar Period 27 2. Ideological and Spectatorial Formations 71 3. State Formation and Nonfiction Cinema: Syncretic Westernization during the First Pahlavi Period 141 4. A Transitional Cinema: The Feature Film Industry and Sound Cinema 197 5. Modernity's Ambivalent Subjectivity: Dandies and the Dandy Movie Genre 277 Notes 309 Bibliography 343 Index 371
List of Illustrations ix Acknowledgments xiii Organization of the Volumes xxi A Word about Illustrations xxvii Preface. How It All Began xxix Introduction. National Cinema, Modernity, and Iranian National Identity 1 1. Artisanal Silent Cinema in the Qajar Period 27 2. Ideological and Spectatorial Formations 71 3. State Formation and Nonfiction Cinema: Syncretic Westernization during the First Pahlavi Period 141 4. A Transitional Cinema: The Feature Film Industry and Sound Cinema 197 5. Modernity's Ambivalent Subjectivity: Dandies and the Dandy Movie Genre 277 Notes 309 Bibliography 343 Index 371
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