Rahyafte (The Guided Ones)
Stars & Systems: Allegations of Zionist Influence in Hollywood https://jscenter.ir/jews-and-the-media/jews-and-hollywood/4898 On the anniversary of cinema, a critical look at claims regarding the relationship between Zionism, Hollywood power, and international…
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
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
🎬 The Cold War's Grip on Iranian and World Cinema
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/9715
On the occasion of the screening of "#Abi_va_Rabi" – Iran's first silent feature film, shown at Mayak Cinema (Dec 30, 1930):
The post-World War II era saw the world divided into a bipolar order, with the Soviet Union and the United States as rival superpowers. While they never engaged in direct military conflict, their global rivalry—known as the Cold War—lasted 45 years and reshaped international relations.
The term "Cold War" itself was first used by an American Jewish politician, Bernard Baruch.
🎥 Cinema as the Main Battlefield
This period proved that the primary arena of superpower conflict was not direct warfare, but the realm of "Soft Conflict" – a battle for hearts and minds. Cinema became the ultimate weapon in this struggle.
· In the Eastern Bloc, Vladimir Lenin declared, "For us, cinema is the most important art," and put his wife in charge of Soviet film. The state used it for socialist propaganda in films like Battleship Potemkin and Solaris.
· In the Western Bloc, Hollywood took the lead. It projected American myths, lifestyle, and liberal values worldwide, constantly strengthening its media power to win the ideological war.
Historical analysis suggests that many regional wars (Vietnam, Afghanistan, Korea) and crises (Berlin Wall, Suez) during this time were, in essence, proxy battles and tools for these superpowers to expand their global influence through media and propaganda dominance.
🇮🇷 The Lost Path of Iranian Cinema
While the world was engaged in this cultural-ideological war, the Iranian film industry, which began in 1904, took a passive and directionless path.
· For its first 26 years, Iranian screens were dominated by foreign films from America, France, Germany, the USSR, and Egypt.
· When Iran finally produced its first silent film, Abi and Rabi (1930), and later its first talkie, The Lor Girl (1934), it did so without a clear intellectual direction or regard for the profound global transformations.
· Instead of addressing national concerns or the impact of World Wars, Iranian cinema under the Pahlavi regime became a tool for Western cultural infiltration. It focused on shallow entertainment, romantic melodramas, and gradually morphed into the infamous "Film Farsi" genre.
🍿 The "Film Farsi" Phenomenon
By the 1960s, Iranian cinema had crystallized into "Film Farsi," a unique hybrid that mixed shallow Hollywood and Bollywood storytelling techniques. Its hallmarks became:
· Sensationalism (sex, alcohol, cabaret dancing)
· Violence (fistfights)
· Shallow plots centered on trivial relationships
· A growing emphasis on indecency and breaking social norms
The peak was the massive commercial success of films like Ganj-e Qarun (1965), a copy of Indian melodramas. However, by the early 1970s, the Iranian society began to reject this culture of "distraction" and moral decay that Film Farsi promoted.
The Cold War era starkly revealed cinema's power: it could dismantle cultures or help civilizations rise. While the superpowers wielded it as a strategic weapon, pre-revolutionary Iranian cinema, unfortunately, became a vehicle for cultural alienation and lost identity.
Source: Jewish Studies Center - "The Reign of the Cold War in Iranian and World Cinema"
Author: Dr. Musa Ismailnejad
#ColdWar #IranianCinema #FilmHistory #Hollywood #Propaganda #FilmFarsi #AbiAndRabi #SoftPower #MediaStudies
✅ @rahyafte_en
https://jscenter.ir/jews-and-the-media/jews-and-hollywood/9715
On the occasion of the screening of "#Abi_va_Rabi" – Iran's first silent feature film, shown at Mayak Cinema (Dec 30, 1930):
The post-World War II era saw the world divided into a bipolar order, with the Soviet Union and the United States as rival superpowers. While they never engaged in direct military conflict, their global rivalry—known as the Cold War—lasted 45 years and reshaped international relations.
The term "Cold War" itself was first used by an American Jewish politician, Bernard Baruch.
🎥 Cinema as the Main Battlefield
This period proved that the primary arena of superpower conflict was not direct warfare, but the realm of "Soft Conflict" – a battle for hearts and minds. Cinema became the ultimate weapon in this struggle.
· In the Eastern Bloc, Vladimir Lenin declared, "For us, cinema is the most important art," and put his wife in charge of Soviet film. The state used it for socialist propaganda in films like Battleship Potemkin and Solaris.
· In the Western Bloc, Hollywood took the lead. It projected American myths, lifestyle, and liberal values worldwide, constantly strengthening its media power to win the ideological war.
Historical analysis suggests that many regional wars (Vietnam, Afghanistan, Korea) and crises (Berlin Wall, Suez) during this time were, in essence, proxy battles and tools for these superpowers to expand their global influence through media and propaganda dominance.
🇮🇷 The Lost Path of Iranian Cinema
While the world was engaged in this cultural-ideological war, the Iranian film industry, which began in 1904, took a passive and directionless path.
· For its first 26 years, Iranian screens were dominated by foreign films from America, France, Germany, the USSR, and Egypt.
· When Iran finally produced its first silent film, Abi and Rabi (1930), and later its first talkie, The Lor Girl (1934), it did so without a clear intellectual direction or regard for the profound global transformations.
· Instead of addressing national concerns or the impact of World Wars, Iranian cinema under the Pahlavi regime became a tool for Western cultural infiltration. It focused on shallow entertainment, romantic melodramas, and gradually morphed into the infamous "Film Farsi" genre.
🍿 The "Film Farsi" Phenomenon
By the 1960s, Iranian cinema had crystallized into "Film Farsi," a unique hybrid that mixed shallow Hollywood and Bollywood storytelling techniques. Its hallmarks became:
· Sensationalism (sex, alcohol, cabaret dancing)
· Violence (fistfights)
· Shallow plots centered on trivial relationships
· A growing emphasis on indecency and breaking social norms
The peak was the massive commercial success of films like Ganj-e Qarun (1965), a copy of Indian melodramas. However, by the early 1970s, the Iranian society began to reject this culture of "distraction" and moral decay that Film Farsi promoted.
The Cold War era starkly revealed cinema's power: it could dismantle cultures or help civilizations rise. While the superpowers wielded it as a strategic weapon, pre-revolutionary Iranian cinema, unfortunately, became a vehicle for cultural alienation and lost identity.
Source: Jewish Studies Center - "The Reign of the Cold War in Iranian and World Cinema"
Author: Dr. Musa Ismailnejad
#ColdWar #IranianCinema #FilmHistory #Hollywood #Propaganda #FilmFarsi #AbiAndRabi #SoftPower #MediaStudies
✅ @rahyafte_en