The careers of hundreds of actors and directors ended overnight. Unlike the Hollywood blacklisting of the McCarthy era, there was not even the opportunity teen fuck buddies a mock hearing.
So marked the end of one of the most thriving film industries in the Middle East, a cinema of song and dance, sex and seduction, violence and vengeance, which combined the western genres with fillme flavour — although always with an eye on Shia Islam, as the ultimate code to put everything in its irani order.
Iranian cinema was anything but limited to poetry and humanism, irani both elements existed in some of the pre-revolutionary arthouse films.
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Millions of filmgoers cared more about a good pop song, the latest tearjerker and a car chase through the streets of Tehran. Cinema was introduced to the country as the exclusive toy of the Qajar kings.
Sporadic efforts to create a national cinema were interrupted by sexy allied occupation of neutral Iran during the second world war. What happened, however, was that people on the ground took control of the camera, telling their own tales.
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Today, they can be more properly judged in the broader context of Iranian mainstream cinema: Fillme miniature of Iranian society, foreshadowing things to come. Not surprisingly, women were stereotyped: Yet filmfarsi also sexy them a chance to be seen. It even offered women agency and power. If the forced unveiling of women under the first Pahlavi was a crucial point in the history of Iranian women, the real unveiling, although highly fetishised, was through these movies, in which women travelled, taught, fought and settled their scores.