Apocalypse and Shi‘i Messianism in Post-Revolutionary Iranian Cinema. Three Case Studies

Abstract

This article examines the representation of themes related to Shi‘i messianism (mahdaviyat) in post-revolutionary Iranian cinema. At first, the article demonstrates Avini’s theory of Illuminative Cinema (cinema ishrāqi) as an approach to represent spiritual and religious themes in cinema. Then, the doctrine of Waiting (intiẓār) in Twelver Shi'a will be analyzed in three films including GHADAMGHA (FOOTHOLD, Mohammad-Mahdi Asgarpour, IR 2004), INJA CHERAQI ROSHAN AST (HERE, A SHINING LIGHT, Reza Mirkarimi, IR 2002), and MARMOULAK (LIZARD, Kamal Tabrizi, IR 2003). Representation of the apocalypse in these films do not resemble the science-fiction genre, but is part of the philosophy of Waiting in the Shi‘i worldview. Labov’s model of narrative analysis is employed to analyze the films. In Illuminative Cinema, the structural elements of narrative should serve to represent religious and spiritual themes. The article shows that the concept of Waiting plays a pivotal role in Post-Revolutionary Iranian cinema. Religious themes of Waiting are presented within the context of current Iranian social problems in these three films. They criticize the present condition of society and describe the ideal society waiting for the Promised Mahdi. A comparative analysis within the article indicates that unlike Hollywood apocalyptic films, Iranian Shi‘i cinema’s depiction of apocalyptic themes, including Waiting, demonstrates less susceptibility to secularizing influences.