[custom_adv] Culture can be studied as an intermediary of miscellaneous fields of art. Cinema is an artistic area with an interactive relation with culture. It can either affect culture or be influenced by it. [custom_adv] The presence of women in Iranian cinema can be generally divided in two periods, before and After the Islamic revolution of 1979.The theoretical framework of the research is the feminist film theory. [custom_adv] Therefore, the research method is a combination of psychoanalysis and semiotics as the textual analysis. To this end, six box office hits produced from 1979 to 2010 through four different political eras have been chosen and were analyzed and compared with six celebrated pre-revolution movies. [custom_adv] A qualitative procedure and the content analysis technique were means to this study purpose.The research shows the changes of representation of women on the screen corresponds with persian women’s successes in transition from the private to the public. [custom_adv] Image of women on the screen has been partially a reflection of what women do or are trying to do in the society.Before the revolution, women’s roles were limited to stereotypes of hysteric housewives, naïve girls coming from provinces and women of low morals. [custom_adv] With the advent of the Revolution in 1979 and during the 8-year war, presence of women considerably drops off.But afterwards, women gradually established themselves in the cinema industry; employed and socially active women started to make appearances in the movies and sometimes played the main roles without hints of sexploitation. [custom_adv] On the other hand, the major issue that concerns western feminists about Hollywood film industry is objectifying women. This study intends to determine if as a result of obligatory Hijab (Islamic wearing) in persian cinema and therefore the lack of sexploitation, these feminist film theories are not completely in accordance about persian film industry. [custom_adv] n the late 1950s, when homeland was witness to the withering away of social norms and everyday practices concomitant with the country's rapid urbanization, a group of young persian film directors embarked upon a new cinematic trend, in attempts to screen the ethereal quotidian of persian life. [custom_adv] Defining itself against what was perceived to be the “cheap” and “repetitive” commercial “Film Farsi” industry of the time, this alternative (alter-)cinema fused the local and global, by incorporating international cinematic elements in socially and politically conscious national films, and projecting them on local and international screens. [custom_adv] Problematizing a homogeneous conception of historical time that subsumes the history of cinema into a conventionalized grand narrative of the persian 1979 revolution, this article works with a conception of heterogeneous historical time that first interrogates cinematic temporality autonomously and then in relation to the political history of homeland. [custom_adv] especially the events of the 1978–79 revolution. This article explores how the distinct cosmopolitan alter-cinema of pre-revolutionary homeland was born from a cinematic rupture in the 1950s, prompted by series of critiques and professional expectations that colored the attention paid to the vernacular and quotidian in film production. [custom_adv] With the screening of the films Kaiser and The Cow, directed by Masoud Kimiai and Darius Mehrjui respectively in 1969, alternative film established their status in the film industry.By 1970 persian cinema entered into its mature stage. The College of Dramatic Arts, instituted in 1963, produced its first graduates at the decade’s beginning. [custom_adv] With the screening of the films Kaiser and The Cow, directed by Masoud Kimiai and Darius Mehrjui respectively in 1969, alternative film established their status in the film industry.By 1970 persian cinema entered into its mature stage. [custom_adv] The College of Dramatic Arts, instituted in 1963, produced its first graduates at the decade’s beginning. Many progressive film co-ops and associations came into existence and there were a few regular film festivals taking place in the country.
