vahid agah
Abstract
The government confrontation with the category of cinema should be freedom-oriented and after producing and supplying films. But in Iran, since the victory of the islamic revolution, there has been censorship of cinematic works, which in the present study, its types in the law have been criticized, and ...
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The government confrontation with the category of cinema should be freedom-oriented and after producing and supplying films. But in Iran, since the victory of the islamic revolution, there has been censorship of cinematic works, which in the present study, its types in the law have been criticized, and rather than religious censorship, which requires an independent article; three main types of censorships, namely "moral, political, and socio-cultural", have been identified and analyzed in the acts, regulations of the Council of Ministers and the Supreme Council of the Cultural Revolution, and in the practical procedure of the Ministry of Culture. The result of the research shows that the diversity and multiplicity of Censorship cases, which, in addition to the diversity and multiplicity of acts and regulations, which is the point of criticism, in the practical procedure, has gone beyond and fatter than the text of laws and regulations, and finally has expanded the censorship open menu in Iran.This is to the extent that the issues such as "violence and escape of justice" in the moral censorship basket; "Criticism of police and government policies", in the list of political censorships; and "presenting an inappropriate image of Iranian culture and civilization, being social and bitter, a critical view of the culture of the weak and even vasectomy", is included in the socio-cultural censorship list, in which, some movies can be named as: "Father's House (Khaneye Pedari)”, "Sinners (Gonahkaran)", "in the color of Purple" "I'm Not Angry", "Haji Washington," Banoo" and "fire worker (Atashkar)".
