The formation of process of cinema and cinema halls in Iran (1921-1977)
Document Type : ُScientific
Author
Executive Director of Comprehensive studies in Urban Design
Abstract
Among the arts, cinema is one of the arts closest to architecture. Both of these arts deal with the human life and have common fundamental elements such as space, place, stage, light, movement, vision, narrative and events. Therefore, their common features can be used to study the relationship between these two fields of knowledge.
The purpose of this research is to investigate the change of socio-cultural and political atmosphere of Iranian cinema in the period of 1921-1977 (Pahlavi period) and accordingly the change of the architectural atmosphere of cinema hall during this period. For this purpose, using the method of descriptive research, the social and cultural changes of Iranian cinema during the Pahlavi period were briefly discussed, and then the change of the cinema buildings and their architecture styles in Tehran, were investigated. Results indicate that, during the first Pahlavi regime, cinema and film were used as propaganda tools to express the aims and policies of the government. Reza Shah's modernization program, progress and development of Iran, industrialization, focuse on nationalism and myths of ancient Iran had an impact on the films. Then, in the 1930s, the presence of poetry and music greats, such as Nezam Vafa, shaped the flow of “Nizam Wafai cinema”, but this positive flow gradually moved towards dance and music cinema, which was characterized by superficial themes and far from reality which led to creation of “Persian film”. Then, in the last two decades of Pahlavi era, "New Wave" cinema was introduced. These movies were shown in cinemas located in the streets that were the symbol of Modernity at that time, such as Lalezar street, Mokhbarwal Doleh street, Cheragh Gas street. And two changes were seen in those cinema buildings: hiring an orchestra to play music in harmony with movie scenes and providing the possibility of women's presence in the cinema. In the following decades, small cinema halls, with winter and summer halls on roof, were built instead of using the existing landmark buildings in Lalezar street. Studying the architectural features of these cinemas signified the western art deco style. Shining neon lamps, streamline forms and lines in the facades and interiors, spiral stairs in the foyers, decorating the ceiling and walls of the interior spaces with colored fabrics and velvet are features of that style.
The purpose of this research is to investigate the change of socio-cultural and political atmosphere of Iranian cinema in the period of 1921-1977 (Pahlavi period) and accordingly the change of the architectural atmosphere of cinema hall during this period. For this purpose, using the method of descriptive research, the social and cultural changes of Iranian cinema during the Pahlavi period were briefly discussed, and then the change of the cinema buildings and their architecture styles in Tehran, were investigated. Results indicate that, during the first Pahlavi regime, cinema and film were used as propaganda tools to express the aims and policies of the government. Reza Shah's modernization program, progress and development of Iran, industrialization, focuse on nationalism and myths of ancient Iran had an impact on the films. Then, in the 1930s, the presence of poetry and music greats, such as Nezam Vafa, shaped the flow of “Nizam Wafai cinema”, but this positive flow gradually moved towards dance and music cinema, which was characterized by superficial themes and far from reality which led to creation of “Persian film”. Then, in the last two decades of Pahlavi era, "New Wave" cinema was introduced. These movies were shown in cinemas located in the streets that were the symbol of Modernity at that time, such as Lalezar street, Mokhbarwal Doleh street, Cheragh Gas street. And two changes were seen in those cinema buildings: hiring an orchestra to play music in harmony with movie scenes and providing the possibility of women's presence in the cinema. In the following decades, small cinema halls, with winter and summer halls on roof, were built instead of using the existing landmark buildings in Lalezar street. Studying the architectural features of these cinemas signified the western art deco style. Shining neon lamps, streamline forms and lines in the facades and interiors, spiral stairs in the foyers, decorating the ceiling and walls of the interior spaces with colored fabrics and velvet are features of that style.
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