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Transcript of Achievements of Islamic Republic of Iran 3.
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Achievements of Islamic Republic of Iran
in its specic denition and analyzed cultural
achievements under the category of cultural sector (including the achievements and performance of the
Ministry of Culture and Islamic Guidance) dened and
anticipated in the upstream laws and the laws of the
ve-year development plans of the Islamic Republic
of Iran:1
11Written culture: including publishing industry such
as books, the press, and similar paper works
11Movies and theater
11Music and related elds of activity
11Islamic knowledge and wisdom, including all
activities related to education, promotion, and publicity
on religious knowledge as well as rites and rituals meant
to promote the Islamic sciences and understanding
11Art and related elds of activity
This chapter falls into two major parts. In the rst, we
will discuss the most important trends in art and culture
realized under the cultural management of the nation,
therewith, present the most important activities and
programs. The second part we will present indicators
•
•••
•
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in each subdivision for studying qualitative and
quantitative development based on well-documentedstatistics and information.
Results show that great achievements have been made
in cultural sector during the past thirty years both in
qualitative and quantitative areas so that Iran could
gain a unique status in the world. An ethical approach
to art and culture and special attention to spirituality
in these elds are among the outstanding preferences
during the past three decades.1
Introduction
The Islamic community of Iran during the past 32 years
has experienced fundamental developments in many
elds. With the establishment of Islamic Republic system
of government in Iran in 1979, the political, economic,
social, educational, scientic, judicial, defensive and law
enforcement systems underwent great changes. Culture
is believed to be the centerpiece of developments in all
these elds. In another word, it can be said that culture
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Achievements of Islamic Republic of Iran
could manifest expected performance in boosting and
expanding the revolutionary system through transmittingits messages and values. This is why culture is believed
to be the basis for all planning and activities of the
Islamic Republic of Iran.1
A deeper review of the ideals of the Ministry of Culture
and Islamic Guidance will suggest that the cultural
sector and administrators of this sector are expected to
help the transfer of religious concepts, imaginations,
and values to the masses. They are also expected to
enliven and promote the revolutionary values. This is
because the major reasons behind the establishment
of the Ministry of Culture and Islamic Guidance were
the growth of ethical merits based on belief and piety,
cultural independence, immunity of the society from
cultural penetration of foreigners, promoting public
awareness on various elds, blossoming of the talents,
promoting the spirit of research, innovation and
invention in the society, publicizing Islamic art and
culture, awareness of the world over the principles,
manifestations, and ideals of the Islamic Revolution,
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expansion of cultural ties with other nations specially
with other Muslim countries and world oppressed,.paving the ground for enhanced unity of Muslims, etc
This report is the story of unied efforts by ofcials,
cultural gures and artists who love and believe in the
art and culture of this nation and live their life with an
ambition to promote them.1
Undoubtedly, it is impossible to cover the detailed
compilation and presentation of these efforts and plans
in this chapter. 1
In a plan entitled “Cultural Achievements of 31 Years
of Islamic Republic of Iran (Ministry of Culture
and Islamic Guidance)” authors tried to analyze the
cultural achievements by two approaches. In the rst
approach the plan tried to study art and culture trends
from statistical viewpoint. We tried to identify the most
important cultural and artistic indicators related to the
responsibilities of the Ministry of Culture and Islamic
Guidance and review developments within the past 32
years. Books and book-reading, movies, art (dramatic,
visual and music), the press, religious activities (Hajj
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Achievements of Islamic Republic of Iran
and pilgrimage, endowments and charity affairs, centers
of art and culture in the mosques) and cultural activitiesof the Islamic Republic of Iran in foreign countries
constitute the qualitative sections of this report.1
We know access to accurate and updated statistics has
been always a serious problem in the cultural sector
studies. This report, too, has faced the same problems.
However, we have tried to rely on authentic documents
and avoid using unauthenticated documents.1
In the second approach, we studied the cultural
achievements of the Islamic Republic of Iran from
qualitative point of view. In this part, the most important
activities and programs have been brought under
qualitative and conceptual classications.1
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1-Cultural Developments in Iran
Religious Approach in Cultural and Artistic Activities
According to the majority of Iranian and foreign experts,
the Islamic Revolution of Iran has a hundred percent
cultural and religious nature. Therefore, all other plans
and programs in the Islamic Republic of Iran are made
based on these two axes. Naturally art and culture have
received the greatest inuence from the revolution so
that from early years after the establishment of Islamic
Republic of Iran, the majority of artistic and cultural
productions contained Islamic and religious values.
Therefore, since then the majority of art and culture
works were value-based and religious and it is perhaps
inappropriate to set aside an independent part for
religious activities.1
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world, and wide distribution of translated Qoran inside
and outside the country for familiarity of the worldnations with this Great Book, promoting the culture of
endowment by identifying and registering the endowed
properties across the country, provincial identication
and registration of the endowments since mid 90s are
some examples of the achievements of Endowments
and Charity Affairs Organization within the past three
decades.1
Also, during the past thirty years, establishment of
the Endowments Construction Fund could gain public
trust and revive the rights of the endowed properties
in cooperation with benevolent people. In line with
enforcement of Imam Khomeini’s decree and the single
article on endowments passed on May 18, 1984 In the
Islamic Consultative Assembly (Iranian Parliament)
thousands of hectares of already endowed properties
that had been used in the past regime under Land
Reform Plan, were returned to the organization and
received certicates of endowments.1
Hajj and Pilgrimage Organization became an organization
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Achievements of Islamic Republic of Iran
in 1984 at the ratication of the Law on Organization
and Authority of Hajj, Pilgrimage and EndowmentsOrganization and in 1991 it was recognized as an
independent organization under the Ministry of Culture
and Islamic Guidance. The organization since then,
is active in administering the affairs of the major and
minor pilgrimage to Mecca and pilgrimage visits
to the holy shrines in Karbala and Najaf. Hajj and
Pilgrimage Organization, as an achievement of the
Islamic Revolution, has managed well pilgrimage tours
to Mecca and Medina, specially in minor pilgrimage to
Mecca, through its privatization plans.1
Boosting Religious Researches, Religious Activities
with Artistic and Cultural Approach
Supporting and developing fundamental and applied
research works on religion with artistic and cultural
approach were among the key policies of the Ministry of
Culture and Islamic Guidance after the Islamic Revolution.
To that end, the ministry established Secretariat of
Religious Researchers since mid 90s.
One of the most successful regular programs is the
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annual festival to select and honor the best research
work on religion. The festival has brought aboutsupporting religious researchers and fundamental and
applied researches on religion.1
At the same time, organizing the National Congress of
Religious Researchers since mid 90s in the presence
of university professors, experts, thinkers, researchers
and experts of religious sciences from universities and
theological schools could lead to the unity of thought
and action among the religious researchers as well as
development of religious activities in the society. The
congress is held annually in Qom by the Secretariat of
Religious Researchers.1
Another achievement in this sector is the Zakar al-
Zakerin Music Festival. Held since mid 90s, the festival
studies religious rites and rituals in various regions of
the country by music performance.1
In addition to the above, there were some other notable
achievements such as holding festivals on religious
subjects, Festival of Metaphysical World from the
Window of Movies, supporting highly conceptual
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movies and introducing them in international festivals,
paving the ground for production and performanceof religious theater, material and spiritual support of
religious works of art and culture, supporting religious
newspapers and periodicals as well as religious press
activists, and holding the rst Festival of Religious
Press in 2003.1
The International Holy Qoran Competitions, held
incessantly for almost two decades, is perhaps the
meeting point of art-culture works and religious-Qoranic
activities. The festival is held annually concurrent with
the holy month of Ramadan in Tehran. It also displays
a large number of works of art and culture in the form
of books, visual arts (calligraphy, painting, graphics),
traditional arts (illumination, inlaid works, …), dramatic
arts, etc. all with religious themes in various levels from
children to adults. Holding specialized religious, artistic
and cultural meetings, invigorating and participating
the young generation in month-long Qoranic activities,
and presenting the latest cultural, artistic, and religious
achievements in religion and Qoran are among the other
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objectives behind holding the competitions. At the same
time, concurrent with these competitions, provincialQoranic contests are also held in the provinces.1
The national, international and provincial Qoranic
competitions are among the most important Qoranic
activities observed from the early years after the
revolution until now. The Endowments and Charity
Affairs Organization is responsible for policy-making
and organization of the festivals. each year, the national,
international, and provincial competitions are held
better and stronger than before, so that the International
Qoranic Competitions in Tehran is now one of the most
.recognized Qoranic events in the world
The above is only a speck of achievements in this
sector and we tried to introduce and document the
most institutionalized activities that are implemented
regularly with qualitative and quantitative growth.1
Perhaps one of the most important achievements of
the Ministry of Culture and Islamic Guidance is the
establishment of Secretariat of Supreme Headquarters to
Supervise Art and Culture Centers in Mosques in 1993.
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Mosques, one of the early centers of scientic, artistic
and cultural works, had been taken away from principalgoals in the course of years, turning into a place of
worship only. After the revolution, mosques regained
their primary signicance by activating and supporting
centers for artistic and cultural activities and opening
libraries with religious, artistic and cultural works.1
Center for Development and Promotion of Qoranic
Activities is another institution that was established
at the Ministry of Culture and Islamic Guidance after
the victory of Islamic Revolution in Iran. Established
since late 90s, the center has managed well to fulll its
responsibilities in connection with supporting, directing
and promoting Qoranic affairs. At present, holding
international, national and provincial Qoranic festivals
and exhibitions, supporting non-governmental Qoranic
institutions and organizations, and supporting works of
art and culture with Qoranic themes are among the most
important activities of this center.1
It should be noted that, however, the Qoranic and
religious publicity and promotional works are not
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exclusive to these institutions or organizations. Rather,
major religious factors have been included in the majorityof religious works of art and culture, religious activities
and programs within the past thirty years. Therefore,
we observe the presence of religion in structuring these
activities. It was because of such religious approach
that since 90s religious and revolutionary works of art
and culture enjoyed material and spiritual supports and
notable subsidies. In this regard, nancial supports were
offered to movies with religious themes, religious books,
and religious books’ printing houses, so that production
of religious books grew outstandingly in quality and
quantity and in titles and circulation after the Islamic
Revolution. Supporting religious press, increasing the
number of religious information centers and supporting
art productions with religious themes are among the
incessant activities carried out in this sector.1
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2-Religious Works of Art and Culture from
Statistical Point of View
In early 90s with the establishment of Secretariat of
Supreme Headquarters to Supervise Art and Culture
Centers in Mosques, serious steps were taken to support
scientic and cultural works in the mosques. Statistics in
Diagram (1) are solid evidences for this claim.1
According to this table, in 1993 (the year of establishment
of Secretariat of Supreme Headquarters to Supervise
Art and Culture Centers in Mosques) there were only
14 active centers of art and culture in the mosques, that
were increased to 5,067 centers in 2009 with an average
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annual growth of 48.42 percent. In 1993 there was only
0.3 center per one million population. The gure wasincreased to over 70 centers in 2008. At the same time, in
1993 these centers had 1,480 members only (23 people
per 100,000 population), that was increased to 1,552,000
in 2008. In other words, almost 2,300 new members per
100,000 population have joined these centers.1
Libraries in the mosques are important tools for
religious works of art and culture. In 1995, there were
only 139 active libraries in the mosques that were
increased to 2,777 libraries in 2009. The increase
shows 23.85 percent annual growth. With respect to
the number of population in 1995, there were only 0.3
mosque libraries per 100,000 people. The gure was
pushed up to 3.75 libraries in 2008.1
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Endowments and Charity Affairs Organization, in
addition to holding Qoranic competitions, is responsiblefor publication of books into world languages,
management of holy mausoleums and shrines, and
supporting festivals of religious rites and rituals. Diagram
(1) depicts the number of endowed properties in the
country. It should be noted that lack of statistics before
1996 does not mean lack of activities before that year.
It means there is no reliable statistics on endowments
at hand before the year 1996. The number of endowed
properties grew with average annual 3.34 percent
from 84,000 in 1996 to 124,525 endowed properties in
2008. Also during this period, the number of endowed
mausoleums showed 4.8 percent growth, growing from
617,319 to 1,076,865 mausoleums.1
Of course, the religious activities and achievements of
the Ministry of Culture and Islamic Guidance do not
conne to these nine indicators. There are some other
activities and programs implemented every year that
must be reviewed from qualitative viewpoint not from
quantitative point of view.1
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Diagram (1): Religious Activities Indicators, 1991-2009
3-Books and Book-reading
Producing and publishing books along with related
activities such as book fairs and public libraries are
important indicators for cultural competence of any
nation. Perhaps, we can divide the qualitative and
quantitative growth of book writing and book reading
in contemporary Iran into two periods of before and
after the Islamic Revolution. The sharp difference in the
statistics of these two periods has always attracted the
0
500
1000
1500
2000
2500
3000
1991 1993 1996 1997 1999 2001 2003 2005 2007 2009
mosque cultural
centersmajor hajj
pilgrims
minor hajj
pilgrims
no. of
endowments
no. of
endowments
no. of
endowments
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attention of responsible authorities. During the years
after the revolution, books and book-reading sector hasenjoyed outstanding achievements and developments
such as the development of information technology
on books, increasing the number of literary awards,
increasing the number of specialized book fairs,
holding Tehran International Book Fair, establishing an
institution named Book House, holding Book Week as
the most important cultural event in the year, expansion
of poetry activities, boosting governmental support of
book producers, authors and consumers, development
of book activities on religions, sects and faiths, and
establishing the rst printing town in Iran. In the next
pages we will review each achievement in brief.1
A-National and international book events
1-Holding the International Book Fair in Tehran
2-Holding provincial book fairs
3-Increasing the number of specialized book fairs
B-Increasing the number of book awards
1-Holding book of the year and world book awards
2-Holding Jalal Al-e-Ahmad Literary Award
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3-Holding Parvin E’tesami Literary Award
C-Books and book-reading nancial support programs1-Supporting consumers of written works
2-Supporting publication of valuable books
3-Supporting production and publication of books
4-Supporting works of poetry
D-Developing information technology on books
1-Establishing Ketab Net (databank of published books
in the country = www.ketabnet.org.ir)1
2-Creating International ISBN codes for Iran
3-Creating centers for the newly published books
4-Producing and publishing periodicals on information
dissemination, literary criticism and review of books
E-Books and Book-reading from statistical point of view
Diagram (2) depicts statistics on books and book-
reading during the years after the Islamic Revolution
in Iran. The table, however, has studied and analyzed
a few major indicators. As the table shows, in 1979
some 1,860 books were published. The gure in 2009
stands at 60,801 titles and shows 12.3 percent growth
annual growth. Given the total number of population
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(36,388,000 people) in 1979, there was only 0.51 book
for 10,000 people in the country, but in 2009 with apopulation of 73,745,344 people there were 8.2 books
per 10,000 people. Despite double-fold increase in the
number of population from 1979 to 2009, the per capita
of produced books has grown by 15 percent.1
Circulation of published books is also an important
indicator for book-reading. During the period under
discussion, the circulation of published books grew
from 683,000 books in 1979 to 206,161,000 books in
2009, showing an average annual 21 percent growth. 1
Public libraries in the towns offer free of charge
services to the general public and serve to be a place
for reading books and exchanging information. They
are also important indicators for book-reading. The
number of public libraries, too, grew from 368 libraries
in 1979 to 2,073 libraries in 2009, showing an average
annual growth of 5.9 percent. In the year 1979, there
were only 1.01 libraries per 100,000 people, but in
2009 there were 2.8 libraries available for a hundred
thousand people.1
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One of the important and interesting indicators in the
period under discussion is the number of references to
the public libraries. In 1979, some 3,213,000 people
have referred to the public libraries across the country.
Given the number of population that time (almost 36
million), there were only 8.8 people per 100 people
referring to the public library. The gure in 2009 went
up to 57 people per 100 people, showing over seven-
fold growth. Despite almost four-fold increase in the
number of public libraries during this period, public
references to these libraries have grown by seven-fold.
Statistics show that despite emphasis of ofcials and
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managers on boosting public use of the public libraries
and its eye-catching development after the revolution, gures are yet to cope with the increase in the number
of addressees and referrals. In other words, interest of
the people in public libraries was high above the speed
of construction and establishment of public libraries.
This shows the growth in scientic competence, literacy
and book-reading interest in the people.1
Another important indicator relates to the number of
books published for the children and young adults. The
number of books published for the children and young
adults in 1979 was 95 titles with a circulation of 50,000.
This gure jumped high by 16.38 percent annual growth
to stand at 9,006 titles and annual growth of 25.43
percent in circulation to be 44,768,000 books in 2009.
Governmental supports and policies for production
and publication of books on children and young adults
highly increased the number of publishers specialized
in these books as well as the number of specialized
book fairs across the country. On the other hand, a
comparison of these statistics with the total number of
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published books shows its importance in the society.
In 1979, there was only one child book per 20 booksreleased, while in 2009 these books constituted 1.5
percent of the total circulation of the books published
in the country.1
Di a gr am ( 2 ) : B o ok P u b l i c a t i on an d B o ok -r e a d i n gI n d i
c a t or s ,2 0 0 1 -2 0 0 9
1 -A v e r a g e ann u al gr o w
t h f r om 1 9 7 9 t o2 0 0 9
2 -A v e r a g e ann u al gr o w
t h f r om 1 9 9 2 t o2 0 0 8
3 -A v e r a g e ann u al gr o w
t h f r om 1 9 9 4 t o2 0 0 8
4 -A v e r a g e ann u al gr o w
t h f r om 1 9 9 6 t o2 0 0 8
5 -A v e r a g e ann u al gr o w
t h f r om 1 9 7 9 t o2 0 0 8
6 -A v e r a g e ann u al gr o w
t h f r om 1 9 8 7 t o2 0 0 8
0
5
0 0 0 0
1 0
0 0 0 0
1 5
0 0 0 0
2 0
0 0 0 0
2 5
0 0 0 0
p u b l
i s h e d b o o k s
c h i l d
e r n a n d y o u n g
a d u l t b o o k s
s u b s
c r i b e r s
o f p u b l i c
l i b r a r i e s
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4-The Press
Development is an all-out concept part of which is
manifested in the qualitative growth of indicators.
The modern day world has accepted this standpoint
as a reality that communications play a key role in the
development of societies. If participation rate is taken as a
component of development, communications will be then
necessarily accepted as a prerequisite for contribution and
development. In other words, contribution is prerequisite
for development and communications is prerequisite for
contribution.1
This point must be also emphasized that communications
can both inuence development and be considered
as one of the objectives of development. At any
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rate, the following points must be seriously taken
into consideration in the process of development:First, modern world community is on the transition
toward information community and it is necessary
to understand this trend in order to diagnose the
demands of information community. Second, cultural
imperialism, as an undeniable phenomenon, intends to
publicize its culture and paradigm as an active subject
through development of information technology. The
way to avoid being object of this Western hegemony is
accurate understanding of the modern world phenomena
(information community), adherence to its principles,
respecting national contribution as the only factor for
victory and prosperity.1
Undoubtedly, a major part of communications industry
is manifested in the press. The impact of mass media on
public opinion is known to all. The press, are written
mass media with bilateral relations with the society.
The press inuences and receives inuence from the
institutions and individuals in the society. During the
past centuries, this phenomenon has manifested itself in
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the social life of the society so that no society without
press can be imagined. The press is indispensable partof a society. Despite its supervisory role, almost all
institutions accept its presence in the society. We have
accepted the press as the fourth pillar of democracy,
lack of which is not useful for the society. Therefore, we
try to use its capabilities and capacities for the progress
of the society. This is why the government is planning
to develop the press and set aside subsidies from the
governmental budget for newspapers and periodicals.1
In modern societies, the press has a two-sided relationship
with the organizations. The press impresses the course
of action in these organizations and they lay inuence on
production, distribution and consumption of the press.1
The government plays a key role in the qualitative
and quantitative development of the press and in
picturing the future for the newspapers and periodicals
according to certain strategies. The degree of inuence
the government exerts on the press varies according
to political and cultural structures. In some countries
the government is highly involved in the planning and
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policies of the press, while in some other countries
government interference is very low. However, almostin all world countries the government plays some role
in the course of action of the press. 1
It should be noted that with respect to the role of the
press in shaping public opinion, the governments try to
control the press to move according to the values and
norms in the society. Therefore, they plan to develop
this phenomenon according to the norms and values
of the society. The denition of plan has two implied
meanings: supervision and information and statistics.
This means the government supervises the course of
action in the press based on the information and statistics
during the plan. These three factors come together to
help the government express its deed of performance
known as “achievement”. This is why achievement
always comes after planning in government reports. As
a matter of fact, wherever planning is introduced, the
result or achievement should come next.1
All governments plan for development of the cultural
sector, including the press, as they do for development of
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agriculture and economy and present their achievements in
each eld. Government decisions on the press and attainmentof anticipated goals as a result of enforcement of these
decisions are collectively known as the achievements. In
the following part we will review government achievements
in various elds related to the press.1
Rules and Regulations
A-Constitution
The Constitutional Law of the Islamic Republic of Iran
contains one direct and three general articles on the
press. The most important article on the press in this
law is Article 24 on freedom of the press. According to
this article, anti-Islam and anti-civil rights practices are
the only restricting measures for the press. Article 168,
too, says verication of press crimes is special so they
must be veried in justice administration courts in the
presence of jury members. The following articles in the
Constitutional Law are about the press:1
Article 3 – The government of the Islamic Republic of
Iran is bound to use all its facilities to implement the
following in a bid to realize the objectives anticipated
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Achievements of Islamic Republic of Iran
in Article 2.1
K Promoting public awareness in all elds by accurateuse of the press, mass media and other tools
K Offering political and social freedom within the
context of law
Article 15 – Persian (Farsi) is the ofcial and common
language spoken and written by the Iranian people. All
documents, ofcial letters, texts and textbooks must be
written in this language, but it is free to use local and
tribal language in the press and mass media or teach
them in schools in addition to Persian language.1
Article 24 – The press and periodicals enjoy freedom of
pen and expression unless they act against the Islamic
tenets and civil rights the interpretation of which is on
the law.1
Article 168 – Verication of political and press crimes
should be carried out in an open court in the presence of
jury members at the justice administration courts. Way
of selection, rules and regulations, authority of the jury
and denition of the political crime will be determined
based on Islamic precepts.1
-
-
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Quantitative Development of the Press
The press, as part of the written culture of the society,is another indicator for the degree of development in a
society. Such indicators as circulation, per capita paper
consumption and the number of magazines and newspapers
are among the most important HDI indicators in cultural
sector. In this part, we will review the quantitative growth
of the press in the Islamic Republic of Iran after the 1979
Revolution. There are, however, in sufcient statistics on
the number of the press, newspapers, certied periodicals,
applicants for certicates, and circulation of newspapers
during three decades after the revolution.1
There were ups and downs in the number of the press
within three decades after the Islamic Revolution. In
the beginning, the growth in the number of newspapers
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Achievements of Islamic Republic of Iran
and periodicals was skyrocketing but it was plummeted
in summer 1980. In early 80s the trend was almost xed, but after 1984 the number of press increased.
In 1985, concurrent with the ratication of the Law of
the Press, the number of the press reached 309 with
15 newspapers. After the end of war, concurrent with
the establishment of the Deputy Ofce for the Press
and Advertising Affairs at the Ministry of Culture and
Islamic Guidance, the number of the press increased
substantially. Statistics show that in 1990, there were 323
periodicals with 21 newspapers. The increase was slow
in the rst half of 90s, but the social demands inside the
country (increase in the literacy rate, young population,
development of urbanization) as well as regional and
international developments (communications revolution,
information explosion, emergence and penetration of
Internet as a new mass media) called the attention for
the press and mass media once again. Therefore, in
the coming years more licenses were issued for the
periodicals and newspapers. With respect to the above-
said developments and the mottoes of Reconstruction
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Period, communications in general and the newspapers
and periodicals in particular accompanied other sectorsin development. In the second half of 1997, the press
became dominant in Iran’s communication technology
to respond to the social demands, converge with the
world community and advance developments in the
communications arena. In that period, the number of
newspapers became outstandingly large. The trends
continued even after 1997, so that in 1998 the number
of periodicals reached 797 and the newspapers became
51 in number. The growth in quantity of newspapers and
periodicals kept on continuing. In 2000 a large number
of newspapers were banned from publication but the
quantitative growth of the newspapers did not stop. In
2007 there were 2,266 periodicals and 145 newspapers.1
With respect to the above, the number of the periodicals
and newspapers will be presented in a table separately
for the years in between 1972 and 2007.1
In 1981 political conicts subsided and political stability
was observed since September. The periodicals and
newspapers remaining from the early years of the Islamic
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Achievements of Islamic Republic of Iran
Revolution continued publication according to the
revolutionary atmosphere. The reduction in the number of periodicals in 1981 in comparison with previous years
and continued reduction in the coming years show that
after the Islamic Revolution the quantitative growth in
early 80s (reduction in the number of newspapers) was
an accident not a procedure.1
Table (1): Number of Newspapers and Periodicals Published
between 1979 and 2009 (Collected from Various Sources)1
NewspapersPublicationsYear
94271979434441980
452001981
7851982
81021983
91171984121561985
153091986
153151987
-3321988
121831989
91861990
213231991
184081992
133141993
134081994
124861995
275701996326571997
358501998
518971999
896992000
948012001
989532002
10811732003
12314722004
13417292005
13717052006
14321202007
14522602008
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The above table shows that in 1980 there is reduction
in the number of the press but from 1984 a gradual growth happens. After a two-year stop, the number of
the newspapers published in closing months of the year
1989 – except 1992 and 1993 – has been increased. The
growing trend has continued to date after the year 1995.1
Some achievements concerning the press:1
1-Establishment of guild and professional centers
2-Press festival and exhibition
3-Financial support of the press
A-Press subsidies
B-Social Security and Medication Insurance of the
journalists
C-Credit Fund to Support Authors, Journalists and
Artists
D-The plan to classify journalism among difcult and
dangerous jobs
E-Conducting rst national census on news agencies
and newspapers
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Achievements of Islamic Republic of Iran
Newspapers from Statistical Point of View
As it is seen in the Table, the number of the press after theIslamic Revolution has been on the rise so that from 21
titles in 1979, it has been pushed up by 17.4 percent growth
to 2,200 in 2008. In other words, the press per capita in
1979 has been six newspapers per 10 million people. The
relative growth of 50-fold has improved the per capita for
303 newspapers for 10 million population in 2008. It should
be noted that the growth in the press has been accelerated
since 90s so that in 1993, the press per capita for 10 million
people has been 51 titles.1
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@ Õ Ç K Õ w h L ¤ , â í
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â è l ́ ã K Ñ û M É L þ K Ñ É ã K V K Õ Ø ø Ì é R
Ø ¢ L k o : K Ñ t Ò ª R K Ñ Å Ò t ª é ß é R Ø t T Ù p Q M L ^ p K þ Ø Å L â ¥ L V s p è R Ø » " K s p K G é Ó " í ´ ã K ¡ Ú ´ p M é R â A â o M é R K Ñ é Ù à : S ¯ L ä p K V K Ñ ð Ü L Ø a K Ñ T ¢ ¸ é l ë S ª L Ñ O M L s É L ¬ ¡ L Ñ e â M É L è L Ü ¯ L Ø æ Ø ¢ p . . K s T H ß L Ç Ø d L Ì Ù R Ø N L o Ï â K Ñ ̧ L k ì
M T å Ù R È T Ó K ò T ̄ L ä p è à
© å p K á / K Ñ ã c l Q K ò p Ì r è R Ñ Ö Ü N L þ : - A ´ p P o G é u K Ñ ã q o K þ K Ñ ¢ ã Ø L ì ´ N l K Ñ ã ì Ø d Ù l ´ Ò û ´ à S É l è p ç â w Í p ç K Ñ ã K Ä p Ñ Ò Ù t L ´ l K V K Õ Ü t L Ü é R K Ñ T ê È l Ø T å L K Ñ ` Ù å ã o è R K Õ s Ö Ø é R E Ñ û M Ö k ç k K ´ é L E Ñ û E s T Ù p K o ä n ç K ò t L ´ l K V g L ¡ R K ò t L ´ l K V K Ñ ª N é R â K Ñ ¸ Ö ^ é R .
^ L þ m Ñ Î g Ö Ô Ñ É L þ K Ñ B Ø ô K Ñ ¸ L Û Ñ ` Ù ¸ é R K Ñ å Ö Ô K Õ c Ù p K Õ è p K Ü ê " ® L ä p o s T Ù ê " Ø » o G é u K Ñ ã q o K þ K Ñ ¢ ã Ø L Ñ û ´ N l K Ñ ã ì Ø d Ù l ´ Ò ê c é Y A M Ò Â K Ñ T d é L V K Ñ d L o Q ò t D â ì K Ñ ß ¯ L Û â K Ñ x ¸ O K Õ è p K Ü ê E Ñ û K Ñ x ¸ O K Ñ ¢ ã Ø L ì â È L Ô , K á K è p K á c Í ã Ø R â w ¸ N L ´ L q Ø R ´ Ò û K s T h l K Û Ì L Ä R © L È L S å L ò t L ´ l Q K Ñ x ¸ O K Ñ ¢ ã Ø L ì K ò ß Í ã P M L ò ` L ´ R .
â K w ß ª à Ä x Ò U M F k o K b c r P K Ñ Ò æ í
Õ G d R K ò ß ¯ Ù L V K ù o ä L M é R
Ø t D â Ô Ñ é N ê : È L Ä Ò R Ñ é N é R S d Ù Ó m ä N L â A Ø ã K Õ ´ ð V K Ñ û K Ñ ß é ` p M L c Y s é L s ê : Ø h ª « s ¸ ã k ë Ñ ª Ù u
K ò ¸ L Ñ Ú K ù s Ö Ø é R M Ù Í R â K ò l è ß R
K s T ª Ö ¿ : S p K ^ » w ¸ N é R M L o K Ï
A â M L Ø L Ñ B k Ü û Ø t T ã ü Ñ å L
* Ø ¢ l o Ø t D â Ô : M Ò Á ß L K Õ Ì T Å L þ K Ñ n K S ê í ä n K K ò ` L Ô â Ñ l è ß L Ø x L o è » Ñ Ò l â Ô K Õ g p ü
M É l o Q c Å p S ¢ Ó K Ñ û ´ Ù Ê 6 @ Õ Ç Ø ö . .
g ð K C Ü L è ß ` d ã á í ¡ ß » A M p K b c Å p ´ Ù Ö È R â c l è X R Ñ Ò ß Å « â K Ñ Á L q * © å p K á Ø t T ¸ l Q Ñ T ¢ l è p S É ß é R K Ü T L b K M p K b K Ñ ª L È R
K ò d T Í p Q Ø à È N Ó K Ø ø Ì L â M ¸ § K Ñ l â Ô K Ñ Á p M é R © å p K á - Ì é å L á K Ñ ¸ p M ê : - K k g Ó g ð K C Ü L K Ñ û K Ñ h l Ø R â Õ â Ô Ø p Q
M p b c Å p K Õ M L o K Ñ ß Å ª é R â K Ñ Á L q è R M T ¢ L Ø é Ú Ø d Ò é R â m Ñ Î í s é L Ë K s ö K S é ` é R Ø ã K ^ å R K Ñ d ¯ p K Ñ n ë S Å p ¥ æ K Ñ É ã ü K Ñ Á p M é R ´ Ò û K Ñ ¢ ß L ´ R K Ñ ß Å ª é R í K Ñ N Ö k .
â è T Ù é r K Ñ ð b " Ä T e 3 5 " M É l o S æ ´ Ò û K Ñ d Å p í ´ Ù Ê 6 K Õ Ç Ø ö â S ¸ l K Ø ø Ì L â M p è ª L Ü é L â K Ñ ß p â è a Ø à K Ñ l â Ô K Ñ T ê S d T Í p ¡ ß L ´ R K Õ M p K b K Ñ ß Å ª é R .
â í ä n K K Ñ t é L Ë È L Ô c é l o M å Ù ß ê Ø l è p ´ L Û K Ñ x p Ì R K Ñ ã © ß é R Ñ Ò T ß É é O ´ à K Ñ ß Å « í K Ñ N Ö k : K á Ø é r Q ä n K K Ñ ð b Ä p è l Q Ø à Ü ã ´ å L c é Y è t T ª é » K Ñ d Å p í ´ Ù Ê K Ì X p Ø à 6 K Õ Ç Ø ö Ì Ù L K Ü æ È L k o ´ Ò û c Ù Ó K Õ â q K á K Ñ X É é Ò R .
â K ¥ L Ç : K á ä n K K Ñ ð b ¡ ß » Ø à È N Ó K Ñ h ð K þ K Õ è p K Ü é ô â Ü t T ª é » K Ñ É ã Ô M L Ü ß L M Ò Á ß L Ø p c Ò R K Õ Ì T Å L þ K Ñ n K S ê í ä n K K ò ` L Ô â Ñ l è ß L K Ñ é ã Û Ø x L o è » í ´ l k Ø à K Ñ N Ò l K á Ø ß å L S p Ì Ù t T L á â K Ñ ¸ p K Ë .
â è É ã Ô K Ñ h ð K þ M L á K M p K b K Ñ ß Å « â K Ñ Á L q K Ñ T ê M l A ¡ ß ¸ å L í K Ñ N Ö k s é T Ú K Ü T L ^ å L ´ Ò û Ü ª L Ë â K s » â S ¢ l è p ä L K Ñ û g L o b K Ñ N Ö k .
M l â o ç È L Ô ´ N l K Ñ ¸ Ò ê Ø ª å p ë o G é u Ø p Ì r ¡ ß L ´ R K M p K b c Å p K M L o K Ñ ß Å « â K Ñ Á L q í g ã q s T L á , K á ä n ç K Ñ T ` p M R ä ê K Ñ h L Ø t R Ø à
¡ ß ¸ å L K Ñ T ê Ü ` d U â S Ù Í à K Ñ h ð K þ K Õ è p K Ü é ã á Ø à Ì t p K Ñ É é ã k K ò Å p â ¥ R ´ Ò û M Ò l Ü L ^ p K þ K Ñ d ¢ L o , â È N Ó m Ñ Î Ì L Ü U ä n ç K Ñ T É ß é R c Í p K ´ Ò û K Ñ ã Õ è L V K ò T d l Q â k â Ñ T ô K â o â M é T ô , Ø D Ì l K K Ñ É ã Ô , K Ü ß L s ß É ã Û È p è N L M T ¢ l è p ä n ç K Ñ T É ß é R K Ñ û k â Ô K g p ü .
K Ñ ¸ p K Ë â g L o © R K Ñ ª p è Ê
Ø » K è p K á ! !
Ä é Ù L S t T Ù p È ã K V K Ñ ß ¯ L Û K Ñ h Ò é Å ê M Ù å L ^ Ù R K ò T ¯ L ä p è à K Ñ ¸ r Ô M L Ñ p ¡ L ¤ â K Ñ Á L q K V K Ñ t L Ø R . .
K Ñ N d p è à . . S ã K ¡ Ó K Ñ T ¯ L ä p K V K Ñ x ¸ N é R K Ñ Á L ¥ N R â K Ñ ã Ä L Ë S l ´ ã K Ñ û " ^ Ù ¸ R K Õ ¡ p K o " * K ò ¸ L o ¥ R S ß l k M L s T Ù p K o K Ñ ¢ Ù U K Ñ ¸ p M ê â K Ñ l â ì K q K þ Ø L è l â o Ø à È Ù » â Ø ` L q o â c x é R ¥ l K Õ M p è L þ K Ñ ¸ r Ô K ò ß L Ø R - â Ì L Õ V K Ü N L þ : - S ã K ¡ Ó È ã K V Ü ¯ L Û @ Ô g Ò é Å R K Ñ ª L G Å ê â K Ñ ¸ ß ¢ p ë ä ` Ù L S å L K Ñ ã c x é R â K Ñ ð M p è R ´ Ò û c x ã k K ò T ¯ L ä p è à K ò t L ò ô í È p ü â Ø l á K Ñ N d p è à Ø t T h l Ø R M n Ñ Î K Ñ p ¡ L ¤ K ò ª L ¬ â È ß L M Ó K Ñ Á L q K Õ Ø ø Ì é R K Ñ t L Ø R K Ñ d l è X R .
Ä É l w å l V K À Ò O K ò ß L © Ê K Ñ N d p è ß é R Ø t L þ A Ø u K Õ â Ô S ã K ¡ Ó K Ñ T ¯ L ä p K V K Ñ x ¸ N é R K Ñ Á L ¥ N R ¥ l K Ñ ß ¯ L Û K Ñ É Ù ¸ ê K Ñ h Ò é Å ê g L ¡ R í K Ñ Ò é Ó , c é Y o Ä » K ò T ¯ L ä p â á w ¸ L o K V S ß l k M L Ñ É Ù » â S ª L Ñ O M L © Ö Ë s p K f
s ` ß L þ K Ñ p A ë â K è É L Ç K ò d L Ì Ù L V K Ñ ¸ t Í p è R . K Ñ û m Ñ Î k ´ U ^ Ù ¸ é R K Ñ ã Ä L Ë K Ñ ã © ß ê K Õ s Ö Ø é R K Ñ û ^ Ù ¸ R c L w l Q S d U w ¸ L o " ^ Ù ¸ R K Õ ¡ p K o " . ü
Ø à ^ L Ü N æ K Ì l Ü L G O K Õ Ø ô K Ñ ¸ L Û Ñ Ò T ` Ù » K Ñ ã © ß ê K Ñ l è Ù É p K © ê í K Ñ N d p è à Ø d Ù l ^ L s Ú K Ñ l o K q ë K á K Ñ x ¸ O K Ñ N d p è ß ê s é t T Ù p í ¡ Ù ã k ç â S ¯ L ä p K S æ â Ø t ø K S æ K Ñ û c ô S d É é Ê Ø ª L Ñ N æ o À Ú Ì Ó K ò D K Ø p K V K Ñ l K g Ò é R â K Ñ h L o ^ é R ¥ l ç .
K Ñ p G é u K c Ù l ë Ü ` L k : ´ Ò é ß L K á Ü ¦ » K è l è ß L M L è l ë
K Ñ N ¸ § Ñ T ã Ä ø 5 o 2 Ø Ò é ã á Ä p ¡ R ´ Ù Ó í K Ñ N Ö k
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Unfortunately there is no clear-cut statistics on the
circulation of the newspapers in Iran during the closingyears of 70s and through 80s. The tables on circulation of
newspapers and periodicals contain gures since 1993. The
total circulation of the press in 1993 has been 649 copies
that was promoted to 1,280,000,000 copies in 2008 with
an average growth rate of 4.6 percent. A review of this
indicator shows that in 1993 there were 10.9 copies per
year per one person while in 2008, the gure was increased
to 17.6 copies per year. Since the growth in the number of
the press in 1993 is more and faster than the growth in
circulation, we see an imbalance between the per capita
growth in quantity and per capita growth in circulation
of the newspapers and periodicals. In other words, the
growth in quantity of the press is faster than the growth in
circulation of the newspapers and periodicals.1
The number of newsstands also has grown from 2,250 in
1994 to 4,000 in 2008, showing 4.2 percent growth. In
other words, in the year 1994 there were 36.6 newsstands
per a population of one million people. The gure was
promoted to 55.1 newsstands in 2008.1
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Diagram (3-1): Indicators of the press (newspapers), 1991-2000
Diagram (3-2): Indicators of the press (newspapers), 2001-2008
0
500
1000
1500
2000
2500
3000
3500
4000
19 1 1992
19 93 19 94
1995 199
1997 1
998 1999 2000
T
T
T
T
oa
T
P
T
oe
e number of
blications titl
e number of
blications
e number of
wspaper
e number of
egin pressencies
e n umbero f S
ess
e number of
eign pressporters in iran
s
ales
0
500
1000
1500
2000
2500
3000
3500
4000
4500
5000
2001 2002 2003
TheTheTheTheThe
2004 2
number of punumber of punumber of nenumber of forenumber of sale
005 2006
lications titleslicationsspaper gin press agens press
2007
ies
008 200
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5-Movies
Iranian cinema is the cinema of personality.1 In its century-long history, Iranian cinema has put behind
many ups and downs. Theoretically, Iranian cinema can
be divided into two distinct periods. The rst period
begins from introduction of motion pictures in Iran in
1900 until the victory of Islamic Revolution in 1979. The
70s is the decade of growth and ourishing of Iranian
cinema. The second period begins from the victory of
Islamic Revolution in 1979 and marks a distinctive
growth except the early years (until early 80s).1
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From mid March 1970 until mid March 1979 a total
of 504 lms were screened in the movie theaters. In between the years 1971 and 1976 lm production and
screening reached unprecedented gure of over 80 lms
per year, but in the years 1977 and 1978 production
and screening of Iranian lms decreased. In those years
47 and 18 lms were screened respectively. The crisis
began since 1974 in Iranian cinema reached its pinnacle
in 1976 and continued close to closure of motion
pictures industry and bankruptcy of Iranian cinema. The
crisis happened to a great deal because of the import of
cheap foreign lms of sex and violence. In 1974, there
was a 10% decline in screening certied Iranian lms
in comparison with the year 1973. The downfall trend
continued until the year 1976 so that in the same year
from among 829 screened lms only 7.8 percent or 65
lms were Iranian.1
The combination of foreign lms screened in Iranian
movie theaters between the years 1971 and 1976 shows
the hegemony of Hollywood lms on Iranian motion
pictures market.1
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Until 1979 moviegoers were from among all walks of
life. In a general classication, moviegoers in that periodbelonged to two groups: “high class” moviegoers and
“low class” moviegoers with subclasses in each class. The
high class moviegoers fell into two subgroups of regular
moviegoers and the intellectual moviegoers. Low class
moviegoers comprised of people with deep interest in
romantic lms (Persian, Arabic, Indian and Turkish lms)
who used to watch the movies with their families or single
men who watched the foreign action movies alone or in
the company of friends. 1
Iranian cinema in the rst period is concurrent with the
Pahlavi I and II dynasties. It was a new phenomenon
emerged in the traditional but developing society. Such
a new phenomenon was so attractive to the people that
they watched all movies irrespective of theme, script
and inuence on the addressee. In this period, cinematic
industry has completely focused on making cinematic
lms sidelining documentaries, short and experimental
lms. In 70s, lmmaking studios came to being and a
new generation of producers and directors stepped on the
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194
scene with artistic tendencies. This helped the moviegoers
nd an aesthetic approach toward the movies. Publicationof cinema books and periodicals played an important role
in promoting public (the youth and students) awareness in
motion pictures. At the threshold of the Islamic Revolution,
Iranian cinema was rich in manpower. Cinema graduates
and those specialized in motion pictures by experience,
found a chance during Islamic Revolution to gain self-
condence and new experiences. The years 1979 until
1983 mark the period when old manifestations of Iranian
cinema automatically become outdated as manifestations
of corruption and prostitution. No lm is shot, movie
theaters are closed and cinema activists wait for a chance.
The post-revolution Iranian cinema was born indeed
in between the years 1983 and 1985. Revolutionary
atmosphere in the society, rapid developments in political
structure of the society, war, and dominance of religious
approaches on art and culture are among the factors
that exert deep inuence on Iranian movies from the
beginning. Post-revolution cinema in Iran can be duly
called the cinema of ethics and personality. 1
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The newly found cinema passes behind stages of
development very fast so that today, 30 years after therevolution, we can say that it has gained a brand in world
motion pictures industry for itself. 1
Iranian cinema may be ahead or back from world cinematic
industry due to technology or production and screening,
but it is special and specic in its concept, and the world
recognizes Iranian cinema by its conceptuality. The major
characteristics of national Iranian cinema can be outlined as
the following :1
HIranian cinema is a highly prestigious cinema and at the
same time personality-generating: Modern day Iranian
cinema has its specic social excellence and status. It is not
merely an evening recreation, rather, it possesses religious
and national legitimacy. Cinema activists including
producers, directors, actors and actresses (specially the
actresses who lacked social acceptability in the past and
their art was sinful) are no more accused of moral decay.1
•
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H Iranian cinema is an ethical cinema with special
status for human relations: Today, ethical criteria govern
Iranian cinema. This cinema reects the paradox and
opposition between the corruptions in social life and
social and religious values in such a way that corruption
fades away in the light of values, rites and rituals,
healthy manners and social ethical behaviors. Today,
moviegoers do not go to the movie theaters to forget
calamities of their life and dream a luxury life in the
ecstasy and hallucination of darkness. Unlike Western
cinema, Iranian cinema is not indifferent to ethics and it
condemns unethical manners.1
H Iranian cinema is the cinema of reality: Modern day
•
•
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Achievements of Islamic Republic of Iran
Iranian cinema represents realities of the society and
tries to solve the social problems in a practical and non-hallucinated way. In other words, Iranian cinema is a
social cinema. The heroes and heroines in this cinema
are ordinary people on the streets with ordinary strength
and weakness. Their heroic conducts are the same as
the behaviors expected from the ordinary people. In
this cinema, the conict between good and bad, noble
and ignoble, egotism and self-denial is logical. In the
mechanism to overcome poverty, bad guys, ignobility
and egotism there is no need for the good, noble and self-
denier to be antagonist rst in order to overcome the bad,
ignoble and egoist. It is the good, noble and self-denial
nature indeed that nally defeats the bad characters. 1
H Iranian cinema is the cinema of love, self-sacrice
and hope: Iranian cinema is today full of outstanding
characters and real heroes who manifest real love,
self-sacrice and hope to life. Such good characters
nally defeat disloyalty, self-respect and wicked
imaginations.1
H The above, therefore, distinguish Iranian cinema from
•
•
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198
world cinema. This gives Iranian cinema a deserving
status in the world motion pictures. The Iranian cinema,of course, owes such achievements to the decisions and
policies of the ofcials and activists. Hereunder, we will
outline the major achievements of Iranian cinema within
the past 31 years.1
H Some Achievements in Iranian Cinema:1
Cinema events and festivals
H Participation of Iranian cinema in international
festivals and events
HHome video service
HComputer games
HEducating and training expert manpower H
HCinematic and motion pictures heritage of the nation
HPromoting social excellence of cinema activists
H New cinema equipment and technology
HInstitutionalization of cinema and development of
related infrastructures
HCinema from statistical point of view
There were around 500 active movie theaters before the
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Achievements of Islamic Republic of Iran
Islamic Revolution. The gure fell down sharply to 198
movie theaters in the year 1979. From 1979 until 2009the number of movie theaters increased again to be 239
in 2009, showing 0.59 percent annual growth by average.
During the years after the Islamic Revolution many movie
theaters were built by the private sector at direct and
indirect government supports. During the same period,
many substandard and old movie theaters became closed
and this pushed the gure of active movie theaters down.
According to the statistics on 1979, there was only one
movie theater for a population of 200,000 people. The
gure was decreased to 312 movie theaters in the year
2009. This means that during the years after the victory
of Islamic Revolution the per capita movie going rate in
individuals remained almost unchanged despite duplicity
of population.
The number of Iranian long and short lms entries in
international festivals was increased from 29 cases in
1979 to 1,031 cases in 2007, showing an average annual
growth rate of 13.6 percent.1
Until before 1991, the Islamic Filmmaking Training
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200
Center was the only cinema education center in the
country. Since that time the ground was paved for theprivate sector to open educational and training centers
so that three centers were activated in the same year.
Enjoying an annual growth rate of 27 percent, the number
of these centers reached 173 centers in the year 2008.1
The number of moviegoers at the movie theaters is one
of the important indicators in this sector. As it is seen in
Diagram (4) from a population of 48 million people in
1985, almost 75 million people were moviegoers. The
gure fell down to 18 million people in 2009. In 2009,
indeed, from a population of four people only one person
was moviegoer. Various economic problems (ination,
reduced leisure time, unemployment, low-income and the
like) must be also taken into consideration in this respect.
The non-economic factors were depreciation of the majority
of movie theaters, losing their cultural nature, their locality
in inappropriate areas after urban development programs,
emergence of substitute cultural products such as home
video, satellite and Internet, lack of movie theaters in over
450 towns across the country, etc.1
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Achievements of Islamic Republic of Iran
Di a gr am ( 4 ) : Ci n e m a S e c t o
r i n d i c a t or s ,1 9 7 9 -2 0 0 9
S t a t i s t i c s ar e r e l a t
e d t o2 4 0 m o vi e t h e a t e r s .1
S t a t i s t i c s ar e r e l a t e d t o2 2 8 m o vi e t h e a t e r s i n2 0 0 7 .1
A v e r a g
e ann u al gr o w t h h a s b e e n c al c ul a
t e d f r om 1 9 7 9 un t i l 2 0 0 8 .1
A v e r a g
e ann u al gr o w t h h a s b e e n c al c ul a
t e d f r om 1 9 8 2 un t i l 2 0 0 8 .1
A v e r a g
e ann u al gr o w t h h a s b e e n c al c ul a
t e d f r om 1 9 9 3 un t i l 2 0 0 8 .1
A v e r a g e ann u al gr o w t h h a s b e e n c al c ul a t e d f r om 1 9 9 1 un t i l 2 0 0 8 .1
A v e r a g e ann u al gr o w t h h a s b e e n c al c ul a t e d f r om 1 9 8 0 un t i l 2 0 0 9 .1
A v e r a g e ann u al gr o w t h h a s b e e n c al c ul a t e d f r om 1 9 7 9 un t i l 2 0 0 9 .1
A v e r a g e ann u al gr o w t h h a s b e e n c al c ul a t e d f r om 1 9 8 5 un t i l 2 0 0 9 .1
A v e r a g e ann u al gr o w t h h a s b e e n c al c ul a t e d f r om 1 9 7 9 un t i l 2 0 0 7 .1
0
2 0 0
4 0 0
6 0 0
8 0 0
1 0 0 0
1 2 0 0
1 4 0 0
1 6 0 0
1 8 0 0
2 0 0 0
1 9 7 9 1 9 8 1
1 9 8 3 1 9 8 5 1 9 8 7 1 9 8 9 1 9 9 1 1 9 9 3 1 9 9 5 1 9 9 7 1 9 9 9 2 0 0 1 2 0 0 3 2 0 0 5 2 0 0 7 2 0 0 9
t h e n um b e r of c i n e m a s
t h e n um b e r of a u d i e n c e s
t h e n um b e r of p a r t i c i p a t i on
of i r a ni a nm o vi e s i n
f or e i gnf e s t i v a l
t h e n um b e r of pr i v a t e f i l m
s c h o ol s
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202
7-Art
Art is one major component and dimension of culture thatis considered as a dynamic, live, changing, developing and
self-rening element. Art plays a key role in cultural identity
of a nation due to its aesthetic properties and inuence.
Music, visual arts, and dramatic arts can establish close
relations with cultural elements due to their nature, and can
reproduce the social and cultural values closely associated
with rich past culture.1
Iranian music has deep connections with mystical concepts
and themes, calligraphy and illumination have deeply rooted
in religious works, painting has deep connections with
ethical, mystical, spiritual and epical literature, traditional
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Achievements of Islamic Republic of Iran
Iranian drama is closely associated with passion play, life
of the Infallible Household of the Prophet (S) and thespiritual life of the people. Other forms of art possess unique
attractions for transmission of religious and humane values
in the history of this land. They are capable of expressing
the ideals, wishes, fears and concerns of people. Art is the
best tool to transfer the ideals that the great reformers of
history, most notably the Prophet of Islam (S), spent their
lives to convey them to humanity.1
Art is rich in historical personality elements, therefore,
it is considered as an important element in production
and reproduction of social identity for a society. Today,
various forms of art can help the society publicize values
among all walks of life, to establish a link between artistic
elements and identity elements, and to promote public
awareness on historical roots or culture and values.1
Post-revolution art, possessing strong civilization and
cultural backup, faced some mighty incidents as the
Islamic Revolution and war. Each of these incidents could
be an endless source to aspirate the artists to produce
valuable works of art. Within the past 32 years, the Islamic
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Revolution has paved the ground for realization of eye-
catching achievements in the eld of art.1 Islamic Revolution and Popularization of Art
Today, due attention to art and culture is felt more than
ever as a basis for all programs and policies of the Islamic
system of government. The world in the past decade
has experienced extraordinary developments in cultural
activities, function of culture, cultural products and
works, cultural demands, and the speed of transferring
cultural products. The very fast and complicated growth
in information technology has facilitated exchange of
cultural products, and this has given variety to art and
culture products. 1
Before the revolution, works of art and culture were
considered as luxury and auxiliary goods and there
was no need for the general public to use these works.
Therefore, the majority of art addressees were from
among the people in big cities and provincial centers. The
art products distribution centers were chiey focused in
Tehran and a few major cities. 1
After the revolution, however, legitimacy of cultural
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activities upon a decree by Imam Khomeini gave a boost
to cultural and artistic productions. Moreover, creationof new cultural and artistic institutions has increased
the demands. Other factors giving a boost to cultural
demand were population growth, increased ofcial and
unofcial trainings, reduced illiteracy rate, increased
centers of higher education, science and culture,
increased urbanization, and development of mass media
and information technology. Intensication of the
social segregation procedure has added to the variety of
works of art and culture. The emergence of new social
groups such as occupational and educational groups,
creation of new jobs, and empowerment of women in
various social activities have all intensied demands
for art and culture works. This has necessitated ever-
increasing development in production and distribution
of art and culture products. One of the major policies
of the Islamic Republic of Iran after the revolution,
specially in closing years of 90s, is to increase art
and culture products according to the principles, rules
and regulations of the Islamic Republic. To that end,
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the government has supported producers of desirable
products and at the same time supervised all works of art and culture. On the other hand, the government has
delegated the authority of art and culture production
to the private sector to enable production of cultural
products according to public taste and demands. This
procedure necessitated serious attention to production
and distribution of art and culture products. Therefore, the
government offered various subsidies, loans and supports
to the producers of art and culture products to help the
growth in art and culture products. Granting low-interest
loans to art productions, granting subsidies for theater and
music productions, granting subsidies for establishment of
art and culture institutions, and granting subsidies to the
art and culture production companies are among the key
policies that have brought about eye-catching growth in
production of works of art and culture specially since 80s.1
Supporting Art and Culture Activists
Art sector, like other cultural sectors, is in need of material
and spiritual support of the government. Although
hardships and problems make the artists experienced
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and their productions more creative, the concerns of
artists and art activists over nancing their programs andmeeting their livelihood are big obstacles to their artistic
and cultural productions. On this basis, art and culture
underwent umbrella coverage of government supports
from the very beginning. In addition to nancial supports,
the government considered some legal facilities and
advantages for the art and culture.1
During the past 32 years, the governments have
supported the cultural sector by various ways and
means such as supporting art and culture festivals and
exhibitions, supporting participation of artists and
creators of works of art and culture in the international
festivals and exhibitions, support music productions,
dramatic and visual arts, and supporting establishment
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and operation of the non-governmental institutions of
art, culture and music. In addition to regular supports,during the years after the revolution some exclusive
supports were also dened and offered to the activists
and creators of art and culture, a few examples of which
we have brought hereunder:1
1-Realization of tax exemption for cultural and artistic
activities by virtue of Clause L of Article 139 of the
Direct Taxation Act
2-Establishing credit funds for supporting art and
culture activists
3-Implementing Social Security Insurance plan for the
creators of works of art and culture
4-Ratifying and implementing the directive for paying
pensions to the disabled and aged artists
5-Implementing the plan to honor the veteran artists
6-Implementing the plan to evaluate artistic competence
of artists
7-Purchasing works of art
8-Implementing the law to support the authors and
composers
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Art from Statistical Point of View
Iranians are known for their history-long art and culture.Visual arts, dramatic arts and music rose to worldly fame
in the course of ages by combining Iranian and Islamic
characteristics to glitter bright in the sky of world art.
Management, promotion and publicizing the collection
of these arts inside and outside the country during the
past 32 years have always been the prime concern of the
policymakers and planners of the nation.1
As it is seen in the Table, art indicators show eye-
catching growth during the years after the revolution. It
is a regret, however, to say that there is no statistics on
art available before the year 1988. There is no record of
artistic productions in between the years 1978 and 1988,
i.e. rst decade after the revolution. This is because of
the eight years of Imposed War when the priority was
defending the country against the enemy and there was
no time for collecting information on the art and culture
productions.1
The number of plays produced with an average annual
growth rate of 10.3 percent, grew from 226 plays in
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1979 to 3,903 titles in 2008.1
The number of play sequences also shows outstandinggrowth so that the 1,525 sequences belonging to the year
1988 jumped high to 49,044 sequences in the year 2008,
showing an average annual growth rate of 19 percent.1
A review of the per capita production of plays in between
the years 1979 and 2008 shows that the per capita has
moved up from 6.1 titles for each one million population
in 1979 to over 54 titles in 2008. On the other hand the
sequences in 1988 per a hundred thousand people stands
at 2.85 sequences, rising to 67.6 sequences in 2008,
showing 20-fold increase from 1988 until 2008.1
The number of active art galleries rose from
insignicant seven galleries in 1988 to 280 galleries in
2008, showing average annual growth rate of 20.3 percent.
In other words, there were only two art galleries for an
urban population of 10 million people in 1988, while the
gure in 2008 jumped high to 38.6 galleries. This is a sign
of increasing attention to creation of appropriate spaces
for displaying works of art and culture.1
The number of exhibitions held in visual arts rose from
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420 exhibitions in 1988 to 1,430 exhibitions in 2008,
showing an average annual growth rate of 6.3 percent.Reviewing pertinent per capita shows that in 1988 there
were 14.4 exhibitions for an urban population of one
million people, while the gure in 2008 has reached
19.7 exhibitions.1
The number of private institutes of art in between the
years 1988 and 2008 grew with an average annual growth
rate of 22.5 percent from 48 institutes in 1988 to 2,778
institutes in 2008. The institute per capita, too, rose from
1.6 institutes in 1988 to 38.3 institutes in 2008 per an
urban population of one million people. 1
This shows the increasing attention to art and training
art as an inuential factor for artistic development on
one hand, privatization of this sector in a bid to help
growing trend of the artists toward dynamic and extensive
activities, transfer of the experience and knowledge from
the veteran artists to the enthusiastic youth.1
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Diagram (5): Art Trends Indicators, 1979-1990
Diagram (5-1): Art Trends Indicators, 1991-2000
0
5000
10000
15000
20000
25000
30000
35000
1991 1992 1993 1994 1995 1996 1997 1998 1999 2000
the number of produced plays &
shows
the number of plays performance
the number of art galeries
the number of foreign art groups
participation in iran
0
500
1000
1500
2000
2500
1979 1981 1983 1985 1987 1989
the number of produced
plays & shows
the number of plays
performance
the number of art galeries
the number of foreign art
groups participation in
iranthe number of art fairs
held in art galleries and
centers
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0
1 0 0 0 0
2 0 0 0 0
3 0 0 0 0
4 0 0 0 0
5 0 0 0 0
6 0 0 0 0
2 0 0 1
2 0 0 2
2 0 0 3
2 0 0 4
2 0 0 5
2 0 0 6
2 0 0 7
2 0 0 8
2 0 0 9
t h e n um b e r of pr o d u c e d pl a y s &
s h o w s
t h e n um b e r of pl a y s p e r f or m an c e
t h e n um b e r of ar t g al l e r i e s
t h e n um b e r of f or e i gn ar t gr o u p s
p ar t i c i p a t i oni ni r an
t h e n um b e r of ar t f ai r s h e l d i n ar t
g al e r i e s i ni r an
t h e n um b e r of ar t i n s t i t u t e s
.Th e a v e r a g e ann u al gr o w t h r a t e h a s
b e e n c al c ul a t e d f r om
1 9 8 8 t o2 0 0 8
.Th e a v e r a g e ann u al gr o w t h r a t e h a s
b e e n c al c ul a t e d f r om
1 9 7 9 t o2 0 0 8
.Th e a v e r a g e ann u al gr o w t h r a t e h a s
b e e n c al c ul a t e d f r om
1 9 9 8 t o2 0 0 8
.Th e a v e r a g e ann u al gr o w t h r a t e h a s
b e e n c al c ul a t e d f r om
1 9 8 9 t o2 0 0 8
Th e
a v e r a g e ann u al gr o w t h r a t e h a s b
e e n c al c ul a t e d f r om
1 9 9 1 t o2 0 0 8
Di a gr a
m ( 5 -2 ) : Ar t Tr e n d s I n d i c a t or s i n b e t w e e n t h e Y e ar s 2 0 0 1 an d 2 0 0 8
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214
Conclusion
Culture is the breathing room for a society. The major ideal
of Iranian nation is to reach a brave, pious, happy, optimistic,
justice-seeking, self-condent, indefatigable, pioneer and
self-sacricing society. Culture is the best tool for realizing
all these higher objectives. (Part of the Supreme Leader’s
remarks in his visit to the members of the Supreme Council
of Cultural Revolution, Dec. 8, 2007)1
In order to realize these objectives, other economic,
social and political systems move in tandem with cultural
sector. The cultural development of the country will bring
sovereignty for the nation in all other areas and sectors.
With respect to the signicance of culture, the Islamic
Republic of Iran has worked for all-out development
in cultural sector, in addition to leading development
in other sectors, to promote the dissemination of the
message of Islamic Republic of Iran in the region and
in the world.1
In some indicators such as the press, books, religious
knowledge, the growth is fast in comparison with the
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developed nations. With respect to the Islamic awakening
in the region during the recent months, the importance of culture and its inuence on the developments can be the
strong point for the Muslim nations. 1
Source
hhReport of the Research for Supreme Council of the
Cultural Revolution, May 22, 2011
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