Filmmaking / Directing : Iranian Cinema - Clash of Tradition & Modernity (Part 2) by Ben Gilani

The challenge between tradition and modernity in Iran has been more pronounced in two periods. First, during the constitutional period and by a group of intellectuals of that time who went abroad. They knew the Persian language and they tried to find a way to compensate for this backwardness by comparing the miserable situation of Iran and the progress of Western societies. By borrowing from the intellectual and technological achievements of the West, they intended to provide an ointment to cure the pain of Iran's backwardness at that time. Of course, because there were no cultural and intellectual grounds for accepting such a new life, conflicts inevitably occurred between this group and other social institutions. But despite all the resistance, a number of achievements of modern thought entered Iranian life.

But the second period of the confrontation between tradition and modernity is not far from our reach, this time the carrier of thinking, lifestyles, and new values were not in the form of books and newspapers for a small group of literate urban people, It was in the form of electronic waves that are easily accessible to all in the most remote areas of Iran. These new technologies and facilities, which became widespread (along with other influential factors such as the significant growth of students, especially female students) pave the way for the dispute between the traditional and modern values in the context of social institutions and of course small but important institutions such as family.

If principal authorities for an Iranian family were the Iranian religion and traditions in the past, now along with these two factors, technologies such as the Internet and satellite networks, with their widespread power and influence, have their effects on society, especially on the younger generations.

Iranian cinema has not been deprived of social and cultural changes in its environment, and since cinema, as an art and industry, has many capabilities to raise issues and influence the audience, filmmakers have the opportunity to express their views, thoughts, and social concerns. They used these opportunities in various fields, including the contrast between tradition and modernity. As it turns out, the production of films with this theme has increased in recent years. I am talking about the relationship between tradition and modernity and the fact that it affected society and its most important institution, the family. These effects are visible in family films.

The introduction of new norms (especially with the spread of new media) into Iranian society and the family and the conflict that new patterns have created with religious and customary traditions is a matter that I will look at carefully and delicately. Whether directly or indirectly, cinematographers have also made this issue the theme of many of their films. Therefore, addressing this issue can give a better understanding of the social thinking of recent filmmakers and by doing so, a picture of social concerns will be drawn. Of course, the social concerns of filmmakers come from the heart of society

To conclude this post before it becomes any lengthier than it already is (than I initially intended), I believe that the conflict between tradition and modernity in the current Iranian cinema has now reached a deeper layer of films than their main story itself. Discourses of tradition and modernity have been the dominant discourses in most of the family films of Iranian cinema. In family films of Iranian cinema, we encounter traditional families more than modern families or eclectic and transitional families. From the POV of the discourse of tradition and the discourse of modernity, the basic concepts of family, such as wife, mother, love, marriage, immigration, etc., have a single meaning in the family films of Iranian cinema. But is it possible to overcome the challenges that modernity has created for the Iranian family by examining the family films only? I would like to end this post by asking you, my fellow filmmakers; what in your personal opinion, about culture, tradition, and religion? What are their relations if any and how can they affect your work? I personally believe that, unlike tradition and religion, culture is something that can never be learned in any school? What do you, my colleagues think?