Iranian New Wave
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| + | '''Iranian New Wave''' refers to a movement in [[Iranian cinema]]. It started in 1964 with [[Hajir Darioush]]'s second film ''Serpent's Skin'', which was based on [[D.H. Lawrence]]'s ''[[Lady Chatterley's Lover]]'' featuring [[Fakhri Khorvash]] and [[Jamshid Mashayekhi]]. Darioush's two important early social documentaries ''But Problems Arose'' in 1965, dealing with the cultural alienation of the Iranian youth, and ''Face 75'', a critical look at the westernization of the rural culture, which was a prizewinner at the 1965 [[Berlin Film Festival]], also contributed significantly to the establishment of the New Wave. In 1968, after the release of ''Shohare Ahoo Khanoom'' directed by Davoud Mollapour, ''[[The Cow (1969 film)|The Cow]]'' directed by [[Darius Mehrjui|Dariush Mehrjui]] followed by [[Masoud Kimiai]]'s ''[[Qeysar (film)|Qeysar]]'' in 1969, [[Nasser Taqvai]]'s ''Tranquility in the Presence of Others'' (banned in 1969 and re-released in 1972), and immediately followed by [[Bahram Beyzai]]'s ''[[Downpour (film)|Downpour]]'', the New Wave became well established as a prominent cultural, dynamic and intellectual trend. The Iranian viewer became discriminating, encouraging the new trend to prosper and develop. | ||
| - | *''[[Fool's Mate (1956 film)|Le Coup du Berger]]'' (1956) | + | ==See also== |
| - | *''[[Le Beau Serge]]'' (1958) | + | * [[Cinema of the world]] |
| - | *''[[The 400 Blows]]'' (1959) | + | * ''[[A Separation]]'' - the first Iranian film to win the [[Academy Award for Best Foreign Language Film]] |
| - | *''[[Hiroshima mon amour]]'' (1959) | + | * ''[[The Salesman (2016 film)|The Salesman]]'' - the second Iranian film to win the same award |
| - | *''[[Breathless (1960 film)|Breathless]]'' (1960) | + | |
| - | *''[[Last Year at Marienbad]]'' (1961) | + | |
| - | *''[[Jules and Jim]]'' (1962) | + | |
| - | *''[[Cléo from 5 to 7]]'' (1962) | + | |
| - | *''[[La Jetée]]'' (1962) | + | |
| - | + | ||
| - | |group6 = Related | + | |
| - | |list6 = | + | |
| - | *[[Arthouse musical]] | + | |
| - | *[[Auteur|Auteurism]] | + | |
| - | *''[[Cahiers du Cinéma]]'' | + | |
| - | *[[Cinémathèque Française]] | + | |
| - | *[[Jump cut]] | + | |
| - | *''[[Two in the Wave]]'' (2010 documentary) | + | |
| - | + | ||
| - | == See also == | + | |
| - | * [[Iranian New Wave]] (Mowje Now) | + | |
| - | * [[Japanese New Wave]] (Nūberu bāgu) | + | |
| - | * [[Australian New Wave]] | + | |
| - | * [[British New Wave]] | + | |
| - | * [[Cinema Novo]] (Brazilian New Wave) | + | |
| - | * [[Cinema of Portugal#1960s.E2.80.931970s|Novo Cinema]] (Portuguese New Wave) | + | |
| - | * [[Czechoslovak New Wave]] | + | |
| - | * [[Film noir]] | + | |
| - | * [[Hong Kong New Wave]] | + | |
| - | * [[Kitchen sink realism]] | + | |
| - | * [[L.A. Rebellion]] | + | |
| - | * [[National cinema]] | + | |
| - | * [[New French Extremity]] | + | |
| - | * [[New German Cinema]] (German New Wave) | + | |
| - | * [[New Hollywood]] (American New Wave) | + | |
| - | * [[No Wave Cinema]] | + | |
| - | * [[Nuevo Cine Mexicano]] | + | |
| - | * [[Parallel Cinema]] (Indian New Wave) | + | |
| - | * [[Romanian New Wave]] | + | |
| - | * [[Remodernist Film]] | + | |
| - | * [[Cinema of Taiwan#New Wave Cinema, 1982–1990|Taiwan New Wave]] | + | |
| - | * [[Third World Cinema]] | + | |
| - | * [[Dogme 95]] | + | |
| - | * [[Yugoslav Black Wave]] (Jugoslovenski crni talas) | + | |
| - | * [[Vulgar auteurism]] | + | |
| - | * [[Extreme cinema]] | + | |
| - | * [[Slow cinema]] | + | |
| - | * [[Film gris]] | + | |
| - | * [[B movie]] | + | |
| - | * [[Cinephilia]] | + | |
| - | * [[Postmodernist film]] | + | |
| - | * [[Pauline Kael]]-film critic in opposition of the auteur theory popularized by Sarris | + | |
| - | * [[Independent film]] | + | |
| - | * [[Experimental film]] | + | |
| - | * [[John Cassavetes]]-American independent filmmaker in the same vein as the French New Wave | + | |
| - | * [[Arthouse action film]] | + | |
| - | *[[Nouvelle Vague (band)]] | + | |
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Iranian New Wave refers to a movement in Iranian cinema. It started in 1964 with Hajir Darioush's second film Serpent's Skin, which was based on D.H. Lawrence's Lady Chatterley's Lover featuring Fakhri Khorvash and Jamshid Mashayekhi. Darioush's two important early social documentaries But Problems Arose in 1965, dealing with the cultural alienation of the Iranian youth, and Face 75, a critical look at the westernization of the rural culture, which was a prizewinner at the 1965 Berlin Film Festival, also contributed significantly to the establishment of the New Wave. In 1968, after the release of Shohare Ahoo Khanoom directed by Davoud Mollapour, The Cow directed by Dariush Mehrjui followed by Masoud Kimiai's Qeysar in 1969, Nasser Taqvai's Tranquility in the Presence of Others (banned in 1969 and re-released in 1972), and immediately followed by Bahram Beyzai's Downpour, the New Wave became well established as a prominent cultural, dynamic and intellectual trend. The Iranian viewer became discriminating, encouraging the new trend to prosper and develop.
See also
- Cinema of the world
- A Separation - the first Iranian film to win the Academy Award for Best Foreign Language Film
- The Salesman - the second Iranian film to win the same award
