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The current study deals with the filmic representation of Shi’i clergy in post-Revolutionary Iranian cinema. The intention of this article is threefold. First, it aims to analyse the presence of religious scholars in film production. Secondly, it attempts to characterize different approaches to the topic undertaken by the filmmakers, to consider the relationship between cinematography, the reality of contemporary Iran, and the approach undertaken by the authorities towards cultural production. The enquiry will be illustrated by movies made during the last 20 years, which will be close read and placed within historical and socio-political context. The emergence of the ruling clergy and its politicization, which followed the Revolution, has given rise to resentment against this group, which has not only grown institutionally, but has increasingly distanced itself from society. I will argue that Iranian films picturing Shi’i clergy, although containing a certain amount of criticism, constitute a response to the image crisis of the clergy. Recognizing the true spiritual foundation of the clerical institution and focusing on the positive dimension of clergy activity, these films stay in line with the regime’s policy.

In search for a spiritual authority. Shi’i clergy in Iranian post-revolutionary cinema