Exploring Iranian Daily Life by Analysing Iranian Cinema

Abstract

My PhD thesis explores Iranian urban daily life by analysing Iranian cinema. Many scholars from different perspectives have focused on Iranian society in various political, social and cultural fields, although less attention is still being paid to Iranian daily life from the perspective of critical studies of everyday life. Moreover, many scholars have investigated Iranian films from macro- and micro-perspectives. Macro-sociological approaches have focused on the social, political and historical structures of Iranian cinema. These research are done in the field of sociology of cinema. Micro-sociological methods have analysed the representation of different features of everyday life, such as gender representation or consumption, but not daily life. These research are done in the field of sociology of film. However, to achieve a comprehensive understanding of any social phenomenon we have to make a connection between micro-sociology and macro-sociology. By problematising the concept of everyday life, this research tries to keep its distance from the dualism noted above and outlines Iranian urban daily life. Therefore, the thesis constructs an applicable theoretical framework to explore Iranian everyday life by a local approach. Through a new methodological approach, the thesis connects the sociology of cinema and sociology of film in order to make a connection between everyday life and its representation in films. The theoretical framework consists of the work of various critical theorists of everyday life (for example, Lefebvre and Simmel) which enables me to recognise the outline of everyday life and analyse power relations in daily life. By a Foucauldian approach I read the theories to conceptualise Iranian daily life. Moreover, I connect the theory of everyday life to Laclau and Mouffe’s discourse analysis. I answer the research questions by using the following fourteen key signifiers: FilmFarsi, Sacred Defense Cinema, Value-based Cinema, Big Production Films, New-wave, Social Films, Children’s films, Entertaining Movies, Festival Cinema, Poetic Cinema, Underground Cinema, Accented Cinema, Independent Cinema, and Art and Experimental Films. The first research question focuses on the discursive context of cinema and everyday life. Describing the discursive structures of Iranian cinema in different periods enables an in-depth understanding of the role of cinema both as a modern social institution and as culture industry. The second research question focuses on ‘subject positions’ and the processes of representation of everyday life in Iranian films. The third question relates to the connections between daily experiences, subject positions, and the social structures located within discourses which shape daily life. This question explains the problematic Iranian urban daily life in terms of uncertainty and precariousness. By highlighting the importance of contextuality in everyday life studies, the thesis concludes with methodological suggestions for further research on everyday life and cinema.