Tenth International Conference on The Image

Abstract

The paper tries to investigate the evolution of photography concept in Iran with regard to changing political discourses. Focusing on the role of ideas and organizations, the study uses discursive institutionalism as the methodological approach. During the first decade following 1979 Islamic revolution and imposed war, photograph was institutionalized as an undeniable document being taken, leaving no room for picture-making, manipulation or self-expression. Meanwhile due to leftist ideas prevailing cultural organization and institutions during Mir-Hussein Mousavi administration (1981-1989), photography was formulized as a form of commitment to depict social deprivations and difficulties in hope of reform. However, with liberalizing ideas introduced in Hashemi Rafsanjani administration (1989-1997), the concept of photography started to change. It was no longer merely a form of document since Iranian photographs began to manipulate their photographs in different ways. So it marks a departure from social commitment towards a form of self-expression or artistic form in Iran post-revolutionary photography. In other words, that departure equals moving from “taking” to “making” photographs. To explain this turning point, one should not ignore the proliferation of photography institutions such as private galleries and photography departments. Moreover, to define the institutional change in Iran photography concept, one should notice the liberal attitude of Hashemi’s administration leading to a meaningful increase in number of journals, newspapers and publications. The alternative approaches to photography is a result of a more pluralized, open cultural sphere in which government acted as a supervisor than a contractor.