🌐http://rahyafte.com/en/3061/

🌼#Hanan_Turk is a famous #Egyptian #actress who started off her entertainment career as a professional ballerina. In 2006 she decided to wear #hijab and shocked her fans by taking a break from the spotlight for a few years. She’s been back recently in the Arab #cinema and television scene and has surprised naysayers with her success as a serious actress who just happens to don a #headscarf.
🌟The Following is her explanation about the moment she decided to wear hijab and thereafter :
“I was tired & I wanted the truth. I wanted to overcome my whims and get rid of all my desires in any way possible ....😍✨✨

#Hijab

🦋t.me/rahyafte_en

🎬 Breaking News: Recently, an Iranian-produced animation has been screening in Israeli cinemas, sparking concerns among Israelis about potential Iranian influence.

🔍 The distribution company, Red Cape, claims they were unaware of the film's Iranian origins, stating that they acquired the rights from a French company, which in turn claimed the animation was produced in Malaysia.

🇮🇷 However, the film was actually created by "Honar Pooya" and "Kanoon," both recognized as Iranian state entities. This animation is currently showing in cinemas across Iran, Turkey, Russia, and now Israel.

💰 Interestingly, the film has grossed $15 million to date, with the producers pledging 1% of total earnings—approximately $140,000—to support children in Gaza.

🌐 #Cinema #Iran #Israel #Animation #MiddleEast #GlobalNews @rahyafte_en

🎬 Breaking Taboos in Iranian Cinema – Reza Qazaq’s Style (Part II)
✍️ Seyyed Vesal Mahdavi

📜 Looking back at early 20th-century Iran, society strongly opposed films that clashed with Islamic-Iranian values and introduced bold taboo-breaking themes.

▪️ In the 1940s, when Esmail Koushan (founder of Mitra Film) dubbed the French movie “The Runaway Girl” into Persian, Iranian women refused even unseen voice-acting roles, forcing him to use Turkish women instead—an outcome ridiculed for its poor quality.

▪️ Koushan later, under advice from Asadollah Rashidian (a British SIS & CIA operative involved in the 1953 coup), shifted to film production. Backed by Freemasonic elites of the Pahlavi era, cinema became a tool to reshape Iranian lifestyle.

▪️ Films like Lor Girl (1932) and The Firefly (dubbed as The Castile Spy) openly showcased dancing, female seduction, and Western cultural imports. These were deliberate attempts to normalize social change in Iran through entertainment.

▪️ Even foreign figures such as Nilla Cram Cook (U.S. cultural attaché in Iran) promoted dancing schools, opera, and mixed-gender performances—further embedding taboo-breaking culture into cinema and society.

⚠️ By the 1960s–70s, “Film-Farsi” productions regularly featured prostitution, immorality, and nudity, culminating in works like A Hut Across the River (1971), where for the first time an Iranian actress appeared in explicit scenes.

👉 This shows how cinema under the Pahlavi monarchy was not mere art, but a Western-backed cultural project designed to erode Islamic values and remodel the identity of Iranian society.

🔗 Source: JS Center

#Cinema 🎥 #Iran 🇮🇷 #TabooBreaking 🚫 #Pahlavi 📽️ #CultureWar 🌍

✅ @rahyafte_en

🎬 Persian Cinema after the Revolution – The Bitter Pill of “Shokaran”
✍️ Seyyed Vesal Mahdavi

📜 Before the 1979 Islamic Revolution, Iranian audiences labeled any local movie filled with dance, music, and sexual content as Film-Farsi or even stew-pot movies—symbols of cheap, immoral cinema under the Pahlavi monarchy.

⚔️ After the Revolution, for nearly a decade, cinema turned away from taboo-breaking. Instead, it focused on sacrifice, spirituality, and the Sacred Defense genre, producing iconic films such as Flight at Night and The Scout. This era rebuilt trust between people and cinema.

💡 But from the early 1990s, taboo-breaking returned—not through foreign cultural infiltration, but via domestic cultural managers who either lacked vision or encouraged liberal reforms.

🎥 The turning point came with films such as:

The Bride (1990) – romanticizing weddings during wartime.

Gift of India (1994) – reintroducing dance on screen.

The Actor (1994) – undermining Islamic hijab norms.

Snowman (1995) – crossing lines with gender change & erotic art.

The Wrong Man (1997) – normalizing heavy makeup & seduction.

🔥 Finally, Shokaran (1999), directed by Behrouz Afkhami, shattered the biggest taboo by openly addressing temporary marriage and betrayal. Despite protests from cultural groups and nurses’ associations, the film was strongly supported by cultural officials, became the top box-office hit of the year, and was even praised by critics as one of Iran’s “greatest” films.

⚠️ This marked a dangerous shift: betrayal turned into a fashionable and recurring theme in Iranian social cinema. The film paved the way for works like Red (1999), where treachery became central to the plot.

👉 The case of Shohkran shows how cultural hegemony can be imposed not only by foreign powers, but from within—through taboo-breaking legitimized by state-linked filmmakers.

🔗 Full Article (JS Center): Read Here

#Cinema 🎥 #Iran 🇮🇷 #TabooBreaking 🚫 #Shokaran #CulturalInvasion 🌍

✅ @rahyafte_en

The "High Cinema Committee": Zionism's Influence & Blacklists in World Cinema
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/4971

On the anniversary of cinema, a look at allegations of a covert committee formed to steer global film culture in favor of Zionist interests.

Following the international success and acclaim of Steven Spielberg's "Schindler's List" (1994), a strategic idea reportedly took root among certain Zionist leaders: to formally harness the power of cinema.

🎬 The Formation of the "High Cinema Committee"

Allegedly, a committee was formed with the explicit goal of producing propaganda films to serve Jewish, Zionist, and Israeli state interests. Its reported founding members included:

· Ezer Weizman, former President of Israel (Chairman).
· Shulamit Aloni, then Minister of Communications.
· David Sultan, former Israeli ambassador to Egypt.
· Eliyahu Ben-Elissar, a representative of Mossad.
· Representatives from Canon and ITV companies.
· Steven Spielberg, the acclaimed director.

🎯 Reported Objectives & Actions

The committee's initial two mandates were said to be:

1. Planning the production of films beneficial to Zionism.
2. Recruiting and enlisting major international film stars.

Its alleged activities reportedly expanded to include:

· Blacklisting Films: Working to exclude prominent Arab, Islamic, and pro-Palestinian films from international festivals, especially those addressing the occupation of Lebanon, the Golan Heights, and Palestine.
· Blacklisting Stars: Placing international celebrities who spoke against Israeli policies on a "blacklist," reportedly barring them from Israel. Names mentioned include Alain Delon, Jean-Paul Belmondo, Sophia Loren, Emma Thompson, Kevin Costner, and Isabelle Adjani.
· Corporate Maneuvering: Allegedly intervening to block the Japanese purchase of Paramount Pictures, facilitating its acquisition by interests aligned with the committee through a Jewish-origin bank.
· Influencing Awards: A cited example is the 1994 Cannes Film Festival, where the Best Actress award reportedly was denied to Isabelle Adjani (for Queen Margot) due to her refusal to renounce her Algerian Muslim heritage, and given to the film's secondary actress instead—a move claimed to violate festival norms.

😢 The Case of Isabelle Adjani

The treatment of French-Algerian actress Isabelle Adjani is highlighted as a prime example of alleged "character assassination." She stated:

"The Jews attack me because I insist on my Arab identity... They attack me from all sides and have spread the rumor that I have AIDS!"

💎 Conclusion: Allegations of a Cultural Battlefield

These claims, sourced from critiques of Zionist influence, paint a picture of the global film industry as a cultural and ideological battlefield. The alleged "High Cinema Committee" is presented not as a artistic body, but as a soft-power instrument with the objectives to:

· Control narratives regarding Israel and Zionism.
· Marginalize opposing voices through blacklists and award manipulation.
· Consolidate economic control within the film industry.
The narrative concludes that cinema,as the "Seventh Art," became another domain for asserting influence and sidelining critical perspectives, particularly from the Arab and Islamic world.

Source: Jewish Studies Center - "Zionism and the High Cinema Committee"
Original Source: Saeed Tabiat Shenas, Zionism and Cinema, Tehran: Qibla Aval Publications.

#Cinema #FilmIndustry #Zionism #Propaganda #Hollywood #CannesFilmFestival #StevenSpielberg #IsabelleAdjani

✅ @rahyafte_en

The Gradual Breaking of Taboos: From Global Cinema to Iran
https://jscenter.ir/slave-jews/muslim-zionism/8593

On the anniversary of cinema, an analysis of how taboos are broken step-by-step, altering a society's culture and lifestyle.

Every culture has its taboos—forbidden behaviors, words, or social matters rooted in religion, tradition, and collective values. The act of "breaking a taboo" is not inherently good or bad. Its morality depends on its target:

· Positive: Challenging irrational, superstitious taboos born from "blind obedience without thought."
· Negative & Invasive: Attacking taboos based on a society's practical, scientific, or deeply held religious experiences. This form is seen as cultural aggression, a cultural blitzkrieg, or cultural promiscuity, and is the primary function of cultural influence and soft war.

This discussion focuses on the second kind: orchestrated, staged taboo-breaking designed to reshape a society's identity and lifestyle.

🎞️ The Global Pattern: A Slippery Slope

Art history shows that breaking taboos is a never-ending line. Once a small taboo is broken, it paves the way for larger, related ones to fall in subsequent years. This is clearly visible in 20th-century cinema.

Early 20th-century cinema was largely respectable, often drawing from the Bible and aiming to guide audiences toward greater humanity (e.g., works by Alice Guy-Blaché, D.W. Griffith).

The shift began with the rise of human-centric, materialist ideologies (both left and right). A landmark moment was the 1933 Czechoslovak film "Ecstasy" (خلسه), directed by Gustav Machatý.

· It was the first major film to explicitly depict sexual acts on screen.
· It featured Jewish actress Hedy Lamarr in full nudity, including scenes of her running naked in a forest and a close-up simulating orgasm.
· Initially banned in the U.S. and elsewhere, it was re-released within seven years as censorship standards changed.

Thus, nudity was one of the first taboos to be slowly, incrementally broken, opening the floodgates for the pornography industry and guiding audiences toward a new "lifestyle."

⚖️ The Reaction: Rating Systems

This staged breaking of red lines eventually forced psychologists and sociologists to react. The demand for filtering content led to the creation of rating systems as a preliminary control mechanism.

The most widespread is the MPAA system (Motion Picture Association of America):

· G (General Audiences): All ages admitted.
· PG (Parental Guidance Suggested): Some material may not be suitable for children.
· PG-13 (Parents Strongly Cautioned): Some material may be inappropriate for children under 13 (introduced in 1984 for intense themes without explicit content).
· R (Restricted): Under 17 requires accompanying parent or guardian. Contains strong language, violence, sex, or drug use.
· NC-17 (Adults Only): No one 17 and under admitted. Clearly explicit sex, extreme violence, etc.

🇮🇷 The Iranian Context: Staged Taboo-Breaking

Cinema in Iran followed a similar path. From its earliest years, attracting audiences was based on the principle of taboo-breaking.

· Before the 1979 Revolution, this was driven by the overt and covert programs of dominant powers.
· After the Revolution, mismanagement by cinematic institutions has, critics argue, led the country's cultural and cinematic conditions toward a state of "cultural promiscuity."

The process is gradual and staged. Breaking one small cultural or religious taboo normalizes the act, creating space to break a larger one later. This systematic erosion is presented as a core strategy for long-term cultural change and identity transformation.

Source: Jewish Studies Center - "Staged Taboo-Breaking in Cinema (Part 1)"

#Cinema #Taboo #Culture #IranianCinema #Hollywood #MPAA #CulturalInfluence #HedyLamarr #Ecstasy

✅ @rahyafte_en