The Politics of Popular Music in Iranian Cinema: A Case Study of Dariush Mehrjui’s "Santouri" (2007)

Abstract

This article explores the restrictions placed on music creation and their broader societal implications in post-revolutionary Iran, focusing on Dariush Mehrjui’s renowned film, Santouri, released in 2007. The narrative of the film demonstrates the state’s censorship of music and cinema after the 1979 revolution, which parallels the film’s tribulations during its production and subsequent unofficial release. Generally, the limitations imposed on popular music, known locally as musiqi-e pāp, became a prominent theme, explored openly or subtly within the context of cinematic storytelling. I discuss how the film serves as a revealing mirror of the complex and ambivalent attitudes towards censorship prevailing in Iranian society, encompassing both its populace and the ruling authorities. This article offers an analysis of the interplay between music, censorship, and societal dynamics in post-revolutionary Iran.