![]() This paper studies ways in which the Underground as cinematic setting negotiates the material and cultural attributes of the space, beginning with the intersection of modernity, technology and everyday life in films of the 1920s and 1930s. The subway embodies its quotidian qualities it is associated with work, daily routine, and the average citizen. ![]() In general, different subterranean spaces carry associations with different aspects of the complex attributes of the underground. This paper argues that the symbolic meaning of the London Underground, more than those of other metropolitan subway systems, perfectly matches the primary meaning that subways possess as a cultural, and, especially, a cinematic space. This article explores the very concept of constructing a new image of Tehran through the processes of autocratic modernism and orientalist historicism that also influenced the discourse of national identity during First Pahlavi era. In this regard, the strategy of Tabula Rasa as a utopian blank slate upon which a new Iran could be conceived “over again” – was the dominant strategy of modernization during First Pahlavi era (1925–1941). The case of Tehran as the Middle Eastern political capital is the main scene for the manifestation of modernity within it’s urban projects that was associated with several changes to the social, political and spatial structure of the city. Starting from the middle of the 19th century to the first half of the 20th century, Iranian urban and architectural history has been integrated with modernization, and western-influenced modernity. The concept of Tabula Rasa, as a desire for sweeping renewal and creating a potential site for the construction of utopian dreams is presupposition of Modern Architecture.
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