Defa'-e Moghaddas (The Sacred Defense), Hamdeli va Mehrvarzi (Camaraderie and Love from Knowing the Other), and the Making of Social Cinema in Post-Revolutionary Islamic Iran
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引用次数: 1
Abstract
Abstract:A publicity tool during the Iran–Iraq war (1980–1988), the cinema of the postwar period in Iran was expected to uphold Islamic, ethical, and symbolic values idealized by the government as defa'-e moghaddas (the sacred defense). The war film genre, which was launched during this period to promote these values, exclusively addressed the presence of men on the front lines. It barely made on-screen references to the role of women. Focusing on the gender dynamics of self-sacrifice and drawing on genres such as drama and melodrama, certain filmmakers used cinemay-e ejtema'i (the social cinema) to translate this ideal to the struggles back home. These films turned the gaze of the camera toward the hidden life of mazlooman (the oppressed). They thus shifted the meaning of defa'-e moghaddas and addressed socio-psychological suffering, oppressive cultural practices ('orf), and unjust sanction of legal codes of qisas (retaliation) as contradictory to Islam's teachings on and cultivation of love, justice, and righteousness among ommat (the Islamic community). Focusing on the Iranian poetic vision of hamdeli va mehrvarzi (camaraderie and love from knowing the other), this essay traces affective states including affinity in struggle, rage, anger, and resistance. Linking instances of these states with Western feminist scholarship on the theory of affect, I discuss the cinematic process of claiming "the right to look" (Mirzoeff, Nicholas, The Right to Look: A Counterhistory of Visuality. Durham, NC: Duke University Press, 2011).
摘要:作为两伊战争(1980-1988)期间的宣传工具,伊朗战后时期的电影被期望维护伊斯兰、伦理和象征价值,这些价值被政府理想化为“神圣的防御”。在这一时期推出的战争电影类型是为了宣传这些价值观,专门讲述前线男性的存在。它几乎没有在屏幕上提到女性的角色。一些电影人关注自我牺牲的性别动态,并借鉴戏剧和情节剧等类型,使用cinemay-e ejtema'i(社会电影)将这种理想转化为家庭斗争。这些电影将镜头的目光转向了被压迫者的隐秘生活。因此,他们改变了defa'-e moghaddas的含义,并将社会心理痛苦、压迫性的文化习俗('orf)和对qisas(报复)法律法规的不公正制裁视为与伊斯兰教关于在ommat(伊斯兰社区)中培养爱、正义和正义的教义相矛盾。这篇文章聚焦于伊朗诗歌对“hamdeli va mehrvarzi”(来自了解对方的友情和爱)的看法,追溯了包括斗争、愤怒、愤怒和抵抗中的亲密关系在内的情感状态。将这些国家的实例与西方情感理论的女权主义学术联系起来,我讨论了主张“观看权”的电影过程(尼古拉斯·米尔佐夫,《观看权:视觉性的反历史》)。达勒姆,北卡罗来纳州:杜克大学出版社,2011)。