Sacred Defense cinema: Difference between revisions
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'''Holy Defense cinema''' ({{langx|fa|سینمای دفاع مقدس|Sīnimā-yi Difā'-i Muqaddas}}) refers to a genre of [[Iranian films]] that deals with various aspects of the [[Iran-Iraq war]] of 1980–1988.{{Sfn|Minuchehr|2014}} Although little noticed in the West, the genre has produced more than 200 movies, including some critical and commercial hits. Some of Iran's most noted directors have engaged with the genre, among them [[Ebrahim Hatamikia]], [[Mohsen Makhmalbaf]], [[Majid Majidi]] and [[Kamal Tabrizi]]. Hatamikia is one of the most prolific and successful proponents of the genre. |
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In 2007, Iranian war cinema retrospectives were held in New York and at the [[Barbican Centre]] in London. The first comprehensive academic study in the West was published in 2012: ''Iranian |
In 2007, Iranian war cinema retrospectives were curated by [[Pedram Khosronejad]] and held in New York and at the [[Barbican Centre]] in London. The first comprehensive academic study in the West was published in 2012: ''Iranian Holy Defence Cinema: Religion, Martyrdom and National Identity'' by Khosronejad. |
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== Notable directors == |
== Notable directors == |
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* [[Morteza Avini]] |
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* [[Ebrahim Hatamikia]] |
* [[Ebrahim Hatamikia]] |
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* [[Mohammad Bozorgnia]] |
* [[Mohammad Bozorgnia]] |
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* [[Mohsen Makhmalbaf]] |
* [[Mohsen Makhmalbaf]] |
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* [[Abolqasem Talebi]] |
* [[Abolqasem Talebi]] |
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* [[Kamal Tabrizi]] |
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==Notable films== |
==Notable films== |
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*'' |
*''The 5th Kilometer'', 1980 |
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*''[[Jan-bazan]]'', 1981 |
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*''[[A Military Base in Hell]]'', 1982 |
*''[[A Military Base in Hell]]'', 1982 |
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*''[[ |
*''[[Hesar (film)|Hesar]]'', 1983 |
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*''[[ |
*''[[Rahaei]]'', 1983 |
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*''[[ |
*''[[Two Blind Eyes]]'', 1983 |
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*''A Boat to the Beach'', 1984 |
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*[[Crossing, 1988]] |
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*''[[Land of Lovers]]'', 1984 |
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*[[Deliverance, 1983]] |
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*[[Fence (Seif)]] |
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*[[Horizon, 1988]] |
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*''[[The Flag Bearer]]'', 1985 |
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*[[Identity, 1986]] |
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*[[Lover's Place, 1983]] |
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*[[Passage, 1986]] |
*[[Passage, 1986]] |
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*''[[Identity (1987 film)|Identity]]'', 1987 |
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*[[Snake Fang, 1989]] |
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*[[The 5th Kilometer, 1980]] |
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*''[[Horizon (1989 film)|Horizon]]'', 1989 |
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*[[The Eagles, 1984]] |
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*''[[Transition (1989 film)|Transition]]'', 1989 |
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*[[ |
*''[[Snake Fang]]'', 1989 |
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*[[The |
*''[[The Scout (1989 film)|The Scout]]'', 1989 |
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*''[[Bashu, the Little Stranger]]'', 1990 |
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*[[The Scout, 1988]] |
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*''[[The Immigrant (1990 film)|The Immigrant]]'', 1990 |
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*[[The |
*''[[The Glass Eye]]'', 1991 |
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*[[Two Semi Blind Eyes (Makhmalbaf)]] |
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*''Union of the Good'', 1992 |
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*''[[The Abadanis]]'', 1993 |
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== References == |
== References == |
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[[Category: |
[[Category:Lists of Iranian films]] |
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Latest revision as of 21:36, 10 November 2024
Holy Defense cinema (Persian: سینمای دفاع مقدس, romanized: Sīnimā-yi Difā'-i Muqaddas) refers to a genre of Iranian films that deals with various aspects of the Iran-Iraq war of 1980–1988.[1] Although little noticed in the West, the genre has produced more than 200 movies, including some critical and commercial hits. Some of Iran's most noted directors have engaged with the genre, among them Ebrahim Hatamikia, Mohsen Makhmalbaf, Majid Majidi and Kamal Tabrizi. Hatamikia is one of the most prolific and successful proponents of the genre.
In 2007, Iranian war cinema retrospectives were curated by Pedram Khosronejad and held in New York and at the Barbican Centre in London. The first comprehensive academic study in the West was published in 2012: Iranian Holy Defence Cinema: Religion, Martyrdom and National Identity by Khosronejad.
Notable directors
[edit]- Ebrahim Hatamikia
- Mohammad Bozorgnia
- Rasoul Mollagholipour
- Shahriar Bahrani
- Ahmad Reza Darvish
- Mohsen Makhmalbaf
- Abolqasem Talebi
- Kamal Tabrizi
Notable films
[edit]- The 5th Kilometer, 1980
- Jan-bazan, 1981
- A Military Base in Hell, 1982
- Hesar, 1983
- Rahaei, 1983
- Two Blind Eyes, 1983
- A Boat to the Beach, 1984
- Land of Lovers, 1984
- Eagles, 1984
- The First Bell, 1984
- We Are Standing, 1984
- The Flag Bearer, 1985
- Passage, 1986
- Identity, 1987
- Man and Weapon, 1988
- Horizon, 1989
- Transition, 1989
- Snake Fang, 1989
- The Scout, 1989
- Bashu, the Little Stranger, 1990
- The Immigrant, 1990
- The Glass Eye, 1991
- The Sergeant, 1991
- Union of the Good, 1992
- The Abadanis, 1993
- From Karkheh to Rhein, 1993
- Journey to Chazabeh, 1996
References
[edit]Sources
[edit]- Minuchehr, Pardis (August 2014). "Pedram Khosronejad, ed. Iranian Sacred Defence Cinema: Religion, Martyrdom and National Identity (Canon Pyon, U.K.: Sean Kingston Publishing, 2012). Pp. 213. $110.00 cloth". International Journal of Middle East Studies. 46 (3): 631–633. doi:10.1017/S0020743814000804. ISSN 0020-7438. JSTOR 43303206.
Further reading
[edit]- Abecassis, Michaël (May 2011). "Iranian War Cinema: Between Reality and Fiction". Iranian Studies. 44 (3): 387–394. doi:10.1080/00210862.2011.556390.
- Khakpour, Arta; Khorrami, Mohammad Mehdi; Vatanabadi, Shouleh, eds. (2016). Moments of Silence: Authenticity in the Cultural Expressions of the Iran-Iraq War, 1980–1988. New York: New York University Press. ISBN 9781479805099.
- Khosronejad, Pedram, ed. (2012). Iranian Sacred Defense Cinema: Religion, Martyrdom and National Identity. Canon Pyon: Sean Kingston Publishing. ISBN 1907774173.
- Varzi, Roxanne (2006). Warring Souls: Youth, Media, and Martyrdom in Post-Revolution Iran. Durham: Duke University Press. ISBN 9780822388036.