How has Iranian Cinema Destabilised the Political Structure Dissertation

How has Iranian Cinema Destabilised the Political Structure - Dissertation ExampleFrom the research it is clear that Iranian cinema has survived manifold transformation and oppressive restrictions that corresponds with the tumultuous socio-political experiences of the country itself. Emerging from one restrictive regime and entering moreover another era of restriction, Iranian cinema has suffered through and through various degrees of oppression ranging from rejection by Islamic clerics on the grounds that Iranian films are instruments of Western subversive activity to simple rejection on the grounds that Iranian films do not portray Iran in an idealistic light. At the same time, Iranian cinema has also been utilize by Islamic clerics and regime leaders as a propaganda tool to influence popular thought and behavior. Despite the socio-political challenges, Iranian cinema has gained a reputation characterising it as among the worlds most innovational national cinemas. The success of Iranian cinema is largely attributed to its advanced artistry and its socio-political narratives. Contemporary and more especially, post-revolutionary film-making in Iran presents a mirror image of daily sustenance and social and political issues in Iran. thence the new Iranian Cinema has been described as capturing and sharing an open image of Iranian society and politics. Thus it has been argued that contemporary Iranian cinema has essentially humanized the people of Iran for both national and outside(a) audiences. ... nema 31 The Green Movement 42 Arab Spring 45 Bibliography 48 Filmography 50 Introduction Iranian cinema has survived complicated transformation and oppressive restrictions that corresponds with the tumultuous socio-political experiences of the country itself. Emerging from one restrictive regime and entering yet another era of restriction, Iranian cinema has suffered through various degrees of oppression ranging from rejection by Islamic clerics on the ground s that Iranian films are instruments of Western corruption to simple rejection on the grounds that Iranian films do not portray Iran in an idealistic light. At the same time, Iranian cinema has also been utilized by Islamic clerics and regime leaders as a propaganda tool to influence popular thought and behaviour (Gregory, 2008). Despite the socio-political challenges, Iranian cinema has gained a reputation characterising it as among the worlds most innovative national cinemas (Blankson & Murphy, 2007, p. 144). The success of Iranian cinema is largely attributed to its advanced artistry and its socio-political narratives (Ridgeon, 2000, p. 3). Contemporary and more especially, post-revolutionary film-making in Iran presents a mirror image of daily life and social and political issues in Iran. Thus the new Iranian Cinema has been described as capturing and sharing an open image of Iranian society and politics (Chaudhuri & Finn, 2003, p. 38). Thus it has been argued that contemporary Iranian cinema has essentially humanized the people of Iran for both national and international audiences (Zeydabadi-Nejad, 2010, p. 1). It can therefore be argued that the humanized image of the people of Iran by the aesthetic and realistic representations of social and political issues have worked together to destabilise