ABSTRACT
The years 2000 to 2014 provided an informative period to examine Iranian cinema, with ample evidence of Iran’s changing political situation, starting several years into the Khatami years, when the effects of his reformist presidency had become apparent. There followed the successive two presidential terms of the conservative Ahmadinejad, which concluded in 2013. The speed and aggression with which changes in the management of filmmaking and film culture were affected by these various political changes emphasises that an understanding of the whole requires a detailed analysis of the factors at play in the production of individual works. This does not mean that a free-for-all situation was in place. The IRI remained steadfastly true to its “ideological project”, the implementation of a ‘pure’ Muslim cinema, despite the differing political approaches. Whichever regime was in power, in keeping with Khomeini’s declarations it continued to recognise the value of film as an educational tool for domestic audiences and to heavily invest in it. One of Rouhani’s first priorities on succeeding Ahmadinejad as president was to attend to the film industry, re-opening the House of Cinema, apologising for the government’s past behaviour, and ensuring that permits for new filmmaking projects were granted. Nonetheless, as his presidency approaches its conclusion, it seems that little has really changed. As Attaolah Mohajerani said when ousted from his role as reformist Minister of Culture and Islamic Guidance by conservatives in 2001, “Politicians and military leaders come and go, but our art will remain the same”.
