This cultural study critically investigates the mechanics of the revolutionary posters that were used for mobilizing the Iranian masses and later incorporated by the Islamic propaganda machinery to mark the continuity of the Iranian Revolution. The posters are organized thematically: The initial posters incorporate the religious/secular symbolism of coffeehouse-style poster paintings from the Qajar-era and are followed by posters showcasing the means and spaces of mobilization including the influence of the mosque, religious seminaries, cassette tapes and city walls. The posters in the middle of the thesis try to showcase how influential the rhetoric of Shi'ite Ideology was as projected by the revolutionary ideologues in appealing to the different religious minorities and classes under the Pahlavi state for the resistance movement. The photographic posters follow these national cohesion posters and bridge history and memory, thus situating these posters in the realm of sites of memory, mourning and commemoration. The posters in the last segment include the following themes: gender, commemoration of national and international events including the Iran-Iraq War, and the Gathering of the Liberation Movements of the World. Contrary to the argument portraying posters as insignificant to the Iranian Revolution, this study locates the propaganda images in the milieu of "small media" sparking a "big revolution." Simultaneously, this study reveals the inescapability faced by the ideologues in utilizing abstract, grotesque and profane themes to mobilize and mark the continuity of Anti-Western, Anti-Modern Islamist Revolution.
|Advisor:||Chulos, Chris J.|
|School Location:||United States -- Illinois|
|Source:||MAI 51/05M(E), Masters Abstracts International|
|Subjects:||Middle Eastern history, Design, Islamic Studies|
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