Artistic Freedom vs. Censorship: Iran and the West Compared

Introduction: The Spectrum of Artistic Freedom

A naked supermodel parades in public to protest wearing fur. An artist opens an exhibit showing traditional Christian symbols — such as the cross or Bibles — desecrated with human waste and calls it "avant-garde." Websites openly criticize and mock the government, calling it "satire." All of these things occur in Western society because we have freedom of expression guaranteed by the First Amendment. Any viewpoint, in almost any manner, may be expressed in the United States. So long as "speech" — which includes artistic expression — does not physically harm another individual, it is very difficult for it to be regulated or removed.

But this is not the case in many countries. In Cuba, the former Soviet Union, and many other communist governments, it is illegal to criticize the government in any way, even through artistic expression. In many nations, women — or pictures of them — cannot show uncovered faces. "Subversive" ideas, such as capitalism or democracy, have been suppressed by dictators and monarchs alike for hundreds of years, even when these ideas were merely one interpretation of an artistic work.

Government Control of Artistic Expression in Iran

Iran, which has been governed by highly conservative and religious clerics for decades, has in place a governmental system that represses artistic expression. The government may arrest individuals who speak openly against it, regulate what is taught in universities, and require prior approval before an artistic work is released to the general public in order to ensure that it is not objectionable (HRW). Prior to the presidential elections a few years ago, "at least ten scholars" were arrested for their political actions (ibid). In a society where simple political affiliation and speech are so regulated, there is little room for artistic expression and work to be encouraged.

Independent press in Iran has been subjected to severe government sanctions, even for innocuous coverage of world news or current events. In early 2000, over thirty independent newspapers were shut down by order of the judiciary (HRW). The offending publications were charged with "consistently ignor[ing] warnings to stop publishing material that 'denigrated Islam and the religious elements of the Islamic revolution.'" The statement from the judicial department said that the titles had "hurt the feelings of devout Muslims" (ibid). In a nation where even the possibility of information that might offend one religious group can be banned, meaningful free expression in art can scarcely flourish.

Censorship of Music and Cinema in Iran

Music in Iran is severely regulated; pop music has been almost entirely eliminated, and nearly all "Iranian" pop is now created in Los Angeles (Yadegari). In 1996, a religious ruling was issued stating that music was corrupting children, and to this day women musicians are only allowed to perform for other women (ibid). All music must be preapproved by the government, which screens it for both lyrical content and musical style (ibid).

Iranian cinema is drastically affected by these repressive policies as well. Most Iranian films do not include scenes filmed indoors because of the law against showing women without their chadors — face coverings — even on film (Rosenbaum). This law automatically alters any artistic work, since no film can show a woman's face; expressions and minute details of female characters are severely limited, and female actresses must convey their entire character through speech alone, as the audience will never see their face.

Films that manage to pass government scrutiny may still be boycotted by cinemas that refuse to show them (Pirouz). The Lizard, a recent Iranian film offering a tongue-in-cheek portrayal of religious leaders, was widely condemned and many theaters refused to screen it, despite the film being internationally acclaimed (ibid). It is deeply ironic that a film's own citizens cannot see it in their home country.

Conclusion: Freedom of Expression and a Functioning Society

"Ideology is not necessarily the enemy of art but it tends to become so when applied relentlessly and obsessively" (Johnson 698). This statement is sadly proven true when seen in light of the state of art and expression in a nation like Iran, compared with the free expression encouraged in the United States. In a repressive, censored society, the populace remains uninformed and unaware of issues important to their own lives, and discussion is completely suppressed. Social change cannot begin without the public being made aware of the conditions around them — as realist artists like Courbet demonstrated during the French Revolutionary era — and for that to happen, art and expression must be allowed to exist without restriction.