a visual diary

University of California, Berkeley

2022

Oftenin times of dictatorial regimes, when conformity and propaganda suffocate a society of its humanity, one can turn to the art produced to find profound expressions of resistance and awareness. This sentiment is well-captured by the revolutionary cinema produced in 1960s-1970s Iran. Under the rule of the pro-western Shah Mohammad Reza Pahlavi, Iran was rapidly industrializing and moving towards modernity, with the aid of its booming petroleum industry. However, while the government was focused on alleviating economic and social issues through rapid modernization, they disregarded that Iran lacked the socio-cultural and political infrastructure to account for these quick changes. The failure to recognize this showed a severe disconnect between the social atmosphere aiming to secure human rights and a regime preoccupied with westernization. Adding to the disconnect, any attempts at political dissent and protest were suppressed by the secret police, furthering the rampant human rights violations that the people of Iran endured. From this social angst and uncertainty emerged the Iranian New Wave of Cinema. This era deviated from commercial cinema and gravitated toward realism, social commentary, and artistic quality.

The films created in this movement were distinct for their depiction of class struggle, fear, oppression, and humanity. The Cow, by Dariush Mehrjui, is considered the film that jump started this movement. In his interviews, Mehrjui explained that most of the media during the time was ab gooshty, weak and watery; The Cow explored the concepts of over-dependence, poverty, and fear of modernity as it followed a village population while they navigated the death of their only cow. The idea of The Cow runs parallel to the economy of Iran at the time, which was centered around one commodity. The anxiety demonstrated by the villagers mimics the social unease that this economic state was producing. Tackling political concepts and incorporating characteristics such as a rural setting, simple narrative, and neorealist influences made this film an inspiration for many pieces that followed in this movement. Iranian New Wave films, while critical of the political climate at the time, also pointed the camera inward, portraying the flaws of contemporary Iranian society. Bamboo Fence, by Arsalan Sasani, elaborated on Sasani’s parental relationship in which the pressure of poverty translated into abuse and distress within the household. Bahman Farmanara, the director of Tall Shadows of the Wind, attempted to use a village’s relationship with a scarecrow to highlight society’s role in creating tyrannical rulers. The Cycle by Mehrjui exposed the exploitation of the poor by Iranian medical organizations, and Sealed Soil by Marva Nabili revealed the confinement women endure in rigid village life. As demonstrated by the sheer range of this storyline, the philosophical concepts tackled by this wave of films knew no boundaries. The richness of these films stems not only from their philosophical content but also from their unconventional use of film language. At the time, popular Hollywood films used close-up shots, montages, and an active camera presence. When exposed to this composition, audiences often develop an emotional involvement with the film and start to identify with the characters. New Wave directors wanted to push the audience to decenter themselves during the viewing experience and use a more objective approach to the issues they depicted. In her research article titled “The Cinema of Refusal”, Sara Salijoughi explained the effects of the camera movement in Sealed Soil: “by keeping the camera fixed for the bulk of the film and relying almost exclusively on long shots and extreme long shots…, the film refuses to allow the viewer intimate entry.” The distant camera, paired with the natural setting used in the films, made for less romanticism and more gritty depictions of pressing issues. Movies also diverged from the closed narratives often used in Hollywood films, refusing to satisfy the audience’s desire for moral enlightenment or a happy ending. Due to the film’s realistic attitude, the directors viewed the insertion of moral victory as dishonest. The real moral triumph is achieved by the spectator, who is enlightened by the defeat experienced in the film. The all-around realism in these films makes this movement one characterized by reflection rather than romanticism.

Many of the films made during this time were banned due to their critical content; however, their influence on contemporary Iranian cinema and the international film scene continues. Their experimentative spirit matched many of the film movements in Japan, Italy, and France at the time, which helped Iranian cinema gain global appreciation. The precedents set in New Wave cinema, such as realism, the hidden camera, and the analytical content, prevail in Iranian cinema today even with the limitations imposed on it due to the Islamic regime. While different conceptually, New Wave films create a unique viewing experience in which the audience enjoys aesthetics and intellectual stimulation. The films sacrifice momentary thrill to leave you with questions and emotions that preoccupy you for weeks on end, making a cinema that is not just entertainment but also art.