Abstract:
Farah Pahlavi, as part of the cultural cycle of the final decade of the Pahlavi regime, aimed to stabilize the triple identity of the monarchy. Through the establishment of numerous subsidiaries under her managed foundation, she played a role in realizing and promoting cultural attachments influenced by Pahlavi policies—namely: superficial and vulgar modernity, archaism, and شاهستی (king-worship). These actions were carried out in the fields of cinema, theater, and music with an emphasis on a pioneering approach (innovation against societal norms), and in the field of publishing with the motive of controlling leftist elements, through the formation of institutions such as museums, festivals, and centers... Based on the aforementioned hypothesis, this research attempts, using a descriptive-analytical and selective method, to first categorize institutions based on their goals and type of performance, and secondly, within a larger atmosphere, to examine the relationship between Farah Pahlavi's activities and her related institutions regarding how the cultural attachments of the monarchy were realized. What can be conceived as the findings of this research is that: although Farah and other cultural agents of the monarchy attempted to represent the nature of the Pahlavi regime through cultural attachments derived from those principles, replacing the three interconnected spiritual factors of Iran at that time—namely: belief in Islamic ideology, nationality derived from Islamicity and Iranianism, and the clergy as followers of the religious sphere—in practice, they could not bring about anything except vulgar modernism and shadow/subjugated modernity, alongside instrumental advancements of Westernization.
Machine summary:
Direct actions of the Farah Pahlavi Foundation: Farah as one of the policymakers and supporters of the actions of the Center for the Intellectual Development of Children and Adolescents in the field of art, in the field of film: Youth Palace, Festivals, Radio and Television, Tehran International Festival, National Iranian Film Festival, Shiraz Arts Festival Shiraz Arts Festival Shiraz 2-1-1-1-1- The Persian cinema industry in the 50s and the New Wave trend The 50s in Iranian cinema should be considered a period of gradual decline (both financially and in terms of the number of films produced) and the public's lack of interest in Iranian films, or so-called "Persian films," with a melodrama background and a prominent role for women, which were entirely characterized by scenes of nudity, vulgarity, permissiveness, consumerism, dancing, and singing (Sadr, 1381: 118-153; Mojtabizadeh, 1386: 2301; Talebi Nejad, 1375: 171; Kashani, 1386: 1141).
In addition to the above reasons, one can mention the existence of poor translations in the field of children and adolescents, the transformation of the social fabric of cities and villages, a qualitative change in the method of education (learning a new way of the alphabet which caused the age of reading and writing for beginners to decrease from ten years to seven years), the occurrence of the uprising of June 5, 1963 (15 Khordad 1342 SH), and the necessity of directing society according to the preferred teachings of the Pahlavi monarchy and preventing the strengthening of Islamist and socialist activities as factors that led to the establishment of the Center for the Intellectual Development of Children and Adolescents in 1966 (1345 SH) with a social, cultural, non-profit, and non-commercial focus (Charkhchi, 1396: 9), under the high presidency of Farah Pahlavi, the vice presidency of Asadollah Alam, and the executive management of Lili Jahan Ara (Amir Arjmand) (Alam, 1377 A: 2/397).
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