By Charles Recknagel, RFE\/RL <\/p>\n
When Ayatollah Ruhollah Khomeini took power in Iran 35 years ago on February 11, Iran's filmmakers had good reason to worry. The strict code of censorship ushered in by the Islamic Revolution convinced many that creativity and film were no longer compatible in Iran. <\/p>\n
Yet today, despite the continuing strict censorship rules governing them, Iran's artistic films -- as opposed to the country's commercial-release films -- are universally acclaimed as among the most innovative and important participants in international film festivals. <\/p>\n
The filmmakers' ability to overcome the suffocation of censorship, while still working under it, is one of the rare successes in the daily struggle ordinary Iranians wage to have greater personal freedom under an authoritarian regime. At the same time, the battle against censorship has had a great influence in forging the look and style of Iranian art films, which have earned a place of distinction in the eyes of film lovers worldwide. <\/p>\n
Many authoritarian governments impose strict political restrictions on artists. But the Islamic republic's censorship code is unusually strict because it includes social restrictions as well. The social restrictions particularly limit how relationships between men and women -- one of the most fundamental subjects of the arts -- can be depicted. <\/p>\n
The red lines forbid almost all physical gestures of romantic love, limit the kinds of issues that can be discussed, and bar women from singing or dancing on screen. They also require actresses to wear the hijab -- clothing that masks the figure and covers the hair -- for indoor as well as outdoor scenes, even though in reality Iranian women generally dress at home as they wish and don't cover their hair.<\/p>\n
Jamsheed Akrami, a professor of film at William Paterson University in New Jersey, says that the censorship code is so burdensome that the first talent any serious filmmaker must possess is the ability to get around it. <\/p>\n
\"Whenever you are under strict restrictions, you try to find out ways of getting around them to still communicate your messages. To the credit of the Iranian filmmakers, they have become very adept at skirting the censorship codes,\" Akrami says. \"In fact, as an Iranian filmmaker your most prized possession is your ability to undermine the censorship codes and find ways of getting around them. Your artistic gift is like a secondary requirement.\" <\/p>\n
The Art Of Allusion <\/p>\n
One way to get around censorship is to allude to subjects rather than address them directly. Akrami -- whose own recent documentary \"A Cinema of Discontent\" explores how Iranian directors such as Jafar Panahi (maker of \"The Circle,\" an independent film banned from public screening in Iran ), Bahman Ghobadi (maker of \"No One Knows About Persian Cats,\" an underground film never screened in Iran ), and the Oscar-winning Asghar Farhadi operate under censorship -- says the art of allusion has become the hallmark of Iran's art cinema. <\/p>\n
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See the original post here: By Charles Recknagel, RFE\/RL When Ayatollah Ruhollah Khomeini took power in Iran 35 years ago on February 11, Iran's filmmakers had good reason to worry. The strict code of censorship ushered in by the Islamic Revolution convinced many that creativity and film were no longer compatible in Iran. Yet today, despite the continuing strict censorship rules governing them, Iran's artistic films -- as opposed to the country's commercial-release films -- are universally acclaimed as among the most innovative and important participants in international film festivals. Continue reading
\nIslamic Revolution Can't Upstage Iranian Cinema<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"