Shi'i Islam in Iranian Cinema: Religion and Spirituality in Film (International Library of Cultural Studies)

"In recent years there has been a remarkable surge in Iranian films expressing contentious issues which would otherwise be very difficult to discuss publicly inside the Islamic Republic of Iran - such as the role of clergy in Iranian society. Nacim Pak-Shiraz here highlights how many Iranian film directors concern themselves with the content of the religious and historical narratives of culture and society, sparking debate about the medium's compatibility or incongruity with religion and spirituality. She explores the various ways that Shi'i discourse emerges on screen, and offers groundbreaking insights into both the role of film in Iranian culture and society, and how it has become a medium for exploring what it means to be Iranian and Muslim after thirty years of Islamic rule. This is invaluable reading students and scholars of Film Studies and contemporary Iranian cinema, but also of the culture and identity of Iran more widely."--Bloomsbury publishing. In Recent Years There Has Been A Remarkable Surge In Iranian Films Expressing Contentious Issues That Are Otherwise Difficult To Discuss Publicly Inside The Islamic Republic Of Iran - Such As The Role Of The Clergy In Iranian Society. Here, Nacim Pak-shiraz Highlights How Many Iranian Film Directors Concern Themselves With The Content Of The Country's Religious And Historical Narratives Of Culture And Society, Sparking Debate About The Medium's Compatibility Or Incongruity With Religion And Spirituality. Shi'i Islam In Iranian Cinema Puts The Films Of Established Masters Like Abbas Kiarostami And Bahram Beyzaie And Relative Newcomers Such As Majid Majidi, Within The Context Of The Dynamic And Vibrant Debates Regarding The Vital Concepts Which Underpin The Culture, Religion And State Of Iran.^ Pak-shiraz Analyses The Ways In Which Religion And The Sacred Is Depicted And Alluded To In Films, Such As Kiarostami's The Taste Of Cherry, Kamal Tabrizi's The Lizard Or Majidi's The Colour Of Paradise. Exploring Their Philosophical Meanings, And Tracing Their Roots In Mysticism And Sufism, Pak-shiraz Combines Both Western Thought And Scholarship Concerning The Role Of Religion In Film, And Debates Amongst Iranian Academics, Clerics, And Authorities. She Thus Examines The Varied Reactions To The Ways In Which Religion And Culture Are Discussed Not Only Cinematically, But Also Politically, Socially And Philosophically. Crucially, Film Emerges Not Only As A Way To Encourage Debate About The Nature Of The Islamic Republic, But Also As A Medium Of Expression Through Which Iranians Are Able To Explore Shi'i Identity.^ This Is Especially Prominent As Pak-shiraz Sees The Ta'ziyeh - The Oldest Islamic Drama, Re-enacting The Martyrdom Of Imam Husayn In 680 Ce At Karbala - As Being Revolutionised And Reconstituted In The Modern Iranian Film And Other Media. Shi'i Islam In Iranian Cinema Is A Groundbreaking Study, Not Only Of Cinema And Its Role In Culture And Society, But Of How It Has Become A Platform And A Tool For Creating Discussion Concerning What It Means To Be Iranian And Muslim After Almost Two Generations Of Islamic Rule. This Is Invaluable Reading Not Only For Students And Scholars Of Film Studies And Contemporary Iranian Cinema, But Also Those Interested In The Culture, Identity And Society Of Iran More Widely--jacket. Shiʼism In Iran : An Historical Overview -- Contemporary Iranian Discourses On Religion And Spirituality In Cinema -- Filmic Discourses On The Role Of The Clergy In Iran -- Sight, Sound And Sufism : Mystical Islam In Majidi's Films -- Cinema As A Reservoir For Cultural Memory -- Thinking Films : Kiarostami, A Poetic Philosopher. Nacim Pak-shiraz. Includes Bibliographical References (p. [215]-226) And Index. Includes Filmography (p. [227]-229). Cover 1 Contents 8 List of Ilustrations 10 Note on Transliteration 14 Acknowledgements 16 INTRODUCTION 18 Approaches to the Study of Religion and Spirituality in Western Cinema 21 Shi‘i Islam in Iranian Cinema 27 1. SHI‘ISM IN IRAN: AN HISTORICAL OVERVIEW 32 The Appeal of Shi‘ism in Iran and the Foundations of Twelver Shi‘ism 34 The Twelver Shi‘i State of Iran and the Shi‘i Ulama 40 Conclusions 49 2. CONTEMPORARY IRANIAN DISCOURSES ON RELIGION AND SPIRITUALITY IN CINEMA 52 Cinema’s Introduction into a Muslim Society 57 Cinema’s Place within Islamic Jurisprudence 60 The Paradox of Cinema as a ‘Technological Art’ 63 Cinema as a Domain for Religious and Spiritual Discourse 70 Conclusions 81 3. FILMIC DISCOURSES ON THE ROLE OF THE CLERGY IN IRAN 84 Resistance to Monopolising Islam 88 Parables on the World of the Clergy 92 Morals and Values 102 Conclusions 108 4. SIGHT, SOUND AND SUFISM: MYSTICAL ISLAM IN MAJIDI’S FILMS 110 The Mystical Approach 113 Pain and Suffering 118 Self-Sacrifice and the Alchemy of Love 127 Conclusions 136 5. CINEMA AS A RESERVOIR FOR CULTURAL MEMORY 140 The Figure of Husayn and Iranian Shi‘i Identity 146 Ta‘ziyeh: the only Islamic Drama 153 Beyzaie: a Film-maker Rooted in ‘Historical Genealogy’ 161 Ta‘ziyeh and its Spectators 176 Conclusions 180 6. THINKING FILMS: KIAROSTAMI, A POETIC PHILOSOPHER 184 Philosophy in Film 187 Kiarostami, a ‘Poetic Philosopher’ 189 Reading Life and Death in Kiarostami’s Films 197 Conclusions 208 CONCLUSION 210 NOTES 216 SELECT BIBLIOGRAPHY 232 FILMOGRAPHY 244 INDEX 248