Research in the cinema champs of the second Pahlavi period (Relying On Bourdieu's Theory of Distinction)

Document Type : Original Article

Authors

1 PhD Student in Art Research, Faculty of Visual Arts, University of Tehran Fine Arts Campus, Tehran, Iran.

2 Full Professor, Department of Higher Art Studies, Faculty of Visual Arts, Campus of Fine Arts, University of Tehran, Tehran, Iran.

Abstract

Pierre Bourdieu, the context in which actors and groups operate in a particular space and under the rules that govern that space; Refers to the field. The cinema field of the Pahlavi period is one of the main fields of art and culture of the contemporary period. This field became two distinct fields due to macro-social and cultural policies. Popular cinema field and New Wave cinema field. In each field, the actors adopted strategies because of their character and capital; The actors of the popular cinema field were mostly looking for economic capital and income generation, and this affected the quality and quantity of their productions. In response to the decline in the form and content of popular cinematic works, New Wave Cinema produced works with formal and content qualities. In the meantime, the distinctions and dichotomies that were the result of macro-policies and were formed from the developments of society such as urban growth, class transformation, consumerism, the growth of the entertainment industry, etc., and had an effect on the formation and differentiation of two cinema fields. Also appeared in the content of cinematic works. In this article, the descriptive-analytical and descriptive-comparative methods are studied to distinguish between two cinematic fields of the Pahlavi period. The way information is collected is documentary, and social and cultural assets are extracted from the biographies of the main actors in each field.

Keywords

Political Sociology of Iran
Volume 5, Issue 8
October 2022
Pages 1627-1652

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