Article name “Change in Values” of Iranian Cinema of the 1960s–1970s: Culture and Revolution
Authors Belov A.A. Postgraduate Student,
Bibliographic description Belov A. A. “Change in Values” of Iranian Cinema of the 1960s-1970s: Culture and Revolution // Humanitarian Vector. 2019. Vol. 14, No. 4. PP. 15–23. DOI: 10.21209/1996-7853-2019-14-4-15-23
UDC 130.2
DOI 10.21209/1996-7853-2019-14-4-15-23
Article type
Annotation The relevance of studying value bases of culture in the transitional era is determined by the search for patterns of cultural dynamics. The novelty of this study is based on analyzing the interaction specifics of the social processes and their reflection in the public consciousness by means of cinema using the example of Iranian cinema. The methodology is based on philosophical comparative studies, comparative historical and hermeneutic methods. The period of the 1960s–1970s is an extremely important stage in the development of Iranian cinema. The White Revolution which started in 1963 prepared a future 1979 revolution: violent urbanization, westernization that shook the foundations of society and exacerbated the conflict between the town and the country. Thousands of people who moved to the cities had no work; they created fertile ground for the marginalization of society and the emergence of the lumpen proletariat. Сinematography actively responded to these changes. In the 1960s, cinema directors created the image of the defender of the poor and disadvantaged ‒ Luthi, who ridiculed the Western way of life and promoted traditional values. The authorities actively exploited this image to distract people from the real problems in the country. At the same time, some movies were made criticizing the government and the current state of affairs. As a result, a code of censorship was created that still exists. In the 1970s, the Iranian cinema left the naive escapism of the 1960s and began to speak openly about the problems of society. Iran was filled with dark films in the Noir style, full of cruelty, social drama and thrillers. All these changes were forerunners of the coming revolution. The author concludes that “cultural revolution” of the Iranian cinema is directly related to the social upheavals of Iran in the 20th century. With the help of film language, the directors expressed deep philosophical problems of disunity and the place of man in the world in the context of deep social crises and tried to recreate the lost harmony.
Key words Iranian cinema, sense image, censorship, revolution, value, urbanization, westernization
Article information
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