Document Type : Original Article
Authors
1
Associate Professor, Department of Cinema, Faculty of Cinema and Theatre, University of Art, Tehran, Iran.
2
Ph.D. candidate, Art Studies, Department of art and architecture, Tarbiat Modares University, Tehran, Iran
10.22034/scart.2024.139658.1357
Abstract
In The Streetwalker (1969) by Abbas Shabaviz, Shahin, a commanding figure who holds authority over a chain of cabarets, becomes enamored with a gypsy singer named Atash. Shahin endeavors to elevate Atash into the central attraction of his chain of cabarets. Through Shahin's instrumental patronage and power, Atash attains the status of a celebrated star. During the process, she becomes romantically involved with Afshin, her music instructor, thereby arousing discord with Shahin. Subsequent to this juncture, Shahin channels his influence in an opposite trajectory—toward impeding the duo's artistic trajectory. This research, drawing inspiration from the works of Laura Mulvey and Mary Ann Doane regarding the construction of the female star as a commodity, endeavors to analyze the dynamics of the star formation and her objectification as a commodified entity within The Streetwalker. Throughout the narrative, Shahin, orchestrates Atash’s construction as a popular star, and following the dissolution of their relationship, Shahin employs his powers of surveillance and manipulation to dismantle Atash's image as a star, just like a product that no longer serves its purpose. The article proceeds to underscore that this depiction, can be interpreted as a critique of the Pahlavi regime's enforced modernization agenda, its seductive allure for the masses, and the shallowness underlying the changes it advocates. In conclusion, the analysis posits that The Streetwalker efficaciously presents the process of star formation within the realm of show business of its era, simultaneously offering a critique of the Pahlavi modernization initiative.
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