scholarly journals Naficy Hamid, A Social History of Iranian Cinema, The Globalizing Era, 1984-2010, vol 4. Duke University Press, Durham and London, 2012, 664 p.

2013 ◽  
Author(s):  
Agnès Devictor
Keyword(s):  
Social History ◽  
London 2012 ◽  
History Of ◽  
Duke University

Writing Iran from Exile

2019 ◽  
Vol 13 (1-2) ◽  
pp. 151-162
Author(s):  
Arash Davari
Keyword(s):  
Social History ◽  
History Of ◽  
Duke University

A Social History of Iranian Cinema, vol. 1: The Artisanal Era, 1897-1941. by Hamid Naficy. Duke University Press, 2011. 456pp., Pb. $28.95 ISBN-13: 9780822347750.   A Social History of Iranian Cinema, vol. 2: The Industrializing Years, 1941-1978, by Hamid Naficy. Duke University Press, 2011. 560pp., Pb. $29.95. ISBN- 13: 9780822347743.   A Social History of Iranian Cinema, vol. 3: The Islamicate Period, 1978-1984. by Hamid Naficy. Duke University Press, 2012. 288pp., Pb. $25.95. ISBN-13: 9780822348771.   A Social History of Iranian Cinema, vol. 4: The Globalizing Era, 1984-2010. by Hamid Naficy. Duke University Press, 2012. 664 pp., Pb. $32.95. ISBN-13: 9780822348788.

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

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