{'fraction_non_alphanumeric': 0.009698825931597753, 'fraction_numerical': 0.00816743236345074, 'mean_word_length': 5.468646864686469, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Allegories Beyond Subalternity; The Transformation of Cinematic Expressions during the 1970s in Iranian Films

In the 1970s, the Iranian cinema witnessed the arrival of a new cinematic form which corresponded with the socio-political commitments of its radical creators. Allegorical films made by a group of young filmmakers revived the power of national cinema to address urgent historical and political issues. In this essay, I examine the dialectical transformation of the Iranian cinema in the 1970s when the discontent with the commercial mainstream cinema and its limited formal and authorial quality, motivated the filmmakers to search for new cinematic expressions. Firstly, I discuss the widespread impressions registered in the film magazines and interviews with young filmmakers which reflected a sense that the commercial cinema modeled on classic Hollywood cinema did not adequately represent the Iranian people and their struggle in the emerging capitalist society. I draw on Gramscian notion of ‘subalternity’ to highlight the state of ferment that both the filmmakers and people experienced as those incapable of giving a centralized expression to their aspirations and need. One of the propositions of this essay is that the Iranian cinema in the late 1970s became capable of engaging with the subaltern people and itself rose from the position of subalternity through creating original cinematic forms. The progressive filmmakers first founded their own syndicate to voice their protest against the hegemony of commercial cinema. Then, I indicate that in a dialectical move filmmakers integrated European artistic practices such as neorealism which lead to the production of films such as the Cow. I will briefly discuss the complex authorial and socio-political issues that deploying neorealist convention induced for the Iranian filmmakers. Like Latin American filmmakers they noticed that Neorealism did not correspond to their collective