Gotowe bibliografie tematyczne / Australian documentary

Gotowa bibliografia na temat „Australian documentary”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Australian documentary"

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Laughren, Pat. "Debating Australian Documentary Production Policy: Some Practitioner Perspectives". Media International Australia 129, nr 1 (listopad 2008): 116–28. http://dx.doi.org/10.1177/1329878x0812900112.

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On 1 July 2008, Screen Australia commenced operation as the main Australian government agency supporting the screen production industry. This article considers some of the policy issues and challenges identified by the ‘community of practitioners’ as facing Australian documentary production at the time of the formation of that ‘super-agency’ from the merger of its three predecessor organisations — the Australian Film Commission, the Film Finance Corporation and Film Australia. The article proceeds by sketching the history of documentary production in Australia and identifying the bases of its financial and regulatory supports. It also surveys recent debate in the documentary sector and attempts to contextualise the themes of those discussions within the history of the Australian documentary.
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McQuilton, John, Stephen Alomes, Catherine Jones i Brian Hocking. "Australian Nationalism: A Documentary History". Labour History, nr 64 (1993): 149. http://dx.doi.org/10.2307/27509178.

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Nash, Kate. "Goa Hippy Tribe: Theorising Documentary Content on a Social Network Site". Media International Australia 142, nr 1 (luty 2012): 30–40. http://dx.doi.org/10.1177/1329878x1214200105.

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In the 1970s, a wave of young Western hippies descended on the beaches of Goa in India. Forty years later, some of them reconnected on the social network site Facebook and planned a reunion. This event, and the Goan hippy community then and now, are the subjects of a documentary called Goa Hippy Tribe, produced by Australian documentary maker Darius Devas. Funded by Screen Australia, SBS and Screen New South Wales, Goa Hippy Tribe is the first Australian documentary to be produced for the social network site Facebook. In this article, I consider how documentary in a social network context might be theorised. While the concept of the database narrative is most often invoked to explain user interactivity in online documentary, social networks such as Facebook invite different forms of interaction, and therefore raise distinct theoretical questions. In particular, Goa Hippy Tribe demonstrates the potential for the audience to engage creatively and communally with documentary.
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Smaill, Belinda. "Affective authorship: contemporary Asian Australian documentary". Studies in Australasian Cinema 2, nr 2 (styczeń 2008): 157–70. http://dx.doi.org/10.1386/sac.2.2.157_1.

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Jayasuriya, D. L., Lois Foster i David Stockley. "Australian Multiculturalism: A Documentary History and Critique." International Migration Review 23, nr 4 (1989): 967. http://dx.doi.org/10.2307/2546490.

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Roscoe, Jane. "Television: Friend or Foe of Australian Documentary?" Media, Culture & Society 26, nr 2 (marzec 2004): 288–95. http://dx.doi.org/10.1177/0163443704041179.

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Lemon, Barbara, Kerry Blinco i Brendan Somes. "Building NED: Open Access to Australia’s Digital Documentary Heritage". Publications 8, nr 2 (8.04.2020): 19. http://dx.doi.org/10.3390/publications8020019.

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This article charts the development of Australia’s national edeposit service (NED), from concept to reality. A world-first collaboration between the national, state and territory libraries of Australia, NED was launched in 2019 and transformed our approach to legal deposits in Australia. NED is more than a repository, operating as a national online service for depositing, preserving and accessing Australian electronic publications, with benefits to publishers, libraries and the public alike. This article explains what makes NED unique in the context of global research repository infrastructure, outlining the ways in which NED member libraries worked to balance user needs with technological capacity and the variations within nine sets of legal deposit legislation.
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Smaill, Belinda. "Commissioning Difference? The Case of SBS Independent and Documentary". Media International Australia 107, nr 1 (maj 2003): 105–16. http://dx.doi.org/10.1177/1329878x0310700111.

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SBS Independent (SBSI) is the arm of SBS Television responsible for commissioning new work. Since 1994, SBSI has been working in conjunction with other screen funding bodies to commission feature film, short drama, animation and documentary. The charter that dictates the practices of SBS Television also provides guidelines for SBSI, which is consequently required to focus on work that is innovative and concerned with Indigenous issues and cultural diversity. This article focuses on the case of documentary in Australia and the impact of SBSI on a filmmaking community and contemporary documentary culture with particular reference to the Australia by Numbers and Hybrid Life series of half-hour programs. The focus on diversity, and the fact that this is the first Australian television institution to adopt an outsourcing model for almost all production, means that SBSI has formed a unique relationship with independent documentary. Here I examine the specificity and efficacy of this relationship.
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Pale, Sophia E., i Maria A. Drugomilova. "The Image of the Aboriginal Australians in the Reflection of Modern Media". South East Asia: Actual problems of Development, nr 2(51) (2021): 232–42. http://dx.doi.org/10.31696/2072-8271-2021-2-2-51-232-242.

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Media has a huge impact on the perception of particular information. Sometimes, the average person’s knowledge about the world is formed by video rather than by text content. This article describes how media represents Aboriginal Australians’ life through two documentary series shot by the Australian filmmakers in the latest years.
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Lee, J. M. "Australian war strategy 1939–1945: a documentary history". International Affairs 63, nr 2 (1987): 354. http://dx.doi.org/10.2307/3025510.

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Rozprawy doktorskie na temat "Australian documentary"

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Smaill, Belinda 1972. "Amidst a nation's cultures : documentary and Australia's Special Broadcasting Service Television". Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8644.

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Hegedus, Peter. "Towards a Model for Autobiographical and Socially Conscious Cinematic Documentary in Australia". Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365761.

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The Australian film and television industry is currently undergoing a major transformation, which ultimately will have significant impact on its practitioners. As an Australian filmmaker whose interest and ambition lie in more idiosyncratic and autobiographical films for cinema, I believe a close examination of these filmmaking aspirations in relation to the current codes and practices of the Australian film industry is necessary. Apart from some festivals and media interviews, for filmmakers there is little room for self-reflection. Having the opportunity to conduct a critical and in-depth examination of my work is vital for my professional development, as it signals a necessary shift from emerging filmmaker to the platform of a more mature and established filmmaking practice. The objective of this research work is to investigate whether socially conscious autobiographical cinematic documentary can be a viable filmmaking practice in Australia. This process of investigation is driven by a self-reflexive analysis of my studio projects, challenged, shaped and developed by the work and experience of other film practitioners and documentary theorists whose ideas relate closely to the problem at hand...
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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Rogers, Wendy Kaye. "Xavier Herbert". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41241/1/Wendy_Rogers_Exegesis.pdf.

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As a biographical documentary concept develops, its intention and its form are impacted and may be transformed by market demands. The documentary idea about the life of Xavier Herbert has been in development through a number of iterations within the shifting landscape of the Australian documentary industry from the mid- 1990s to 2009. This study is, on the one hand, an endeavour to find a workable way to express and practise the multi-layered complexity of creative work, a long-form documentary script on Herbert, an Australian literary icon. On the other hand, this thesis represents a cumulative research exercise, whereby my own experiences in the documentary industry in Queensland, Australia and overseas are analysed in an effort to enlighten the broader documentary community about such a complex, even labyrinthine, process.
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Laughren, Pat. "Picturing Politics: Some Issues in the Documentary Representation of Australian Political and Social History". Thesis, Griffith University, 2007. http://hdl.handle.net/10072/366409.

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This submission groups together four 'TV Hour' documentaries - Red Ted and the Great depression 1994, The Legend of Fred Paterson 1996, The Fair Go: Winning the 1967 Referendum 1999, and Stories from the Split: the Struggle for the Souls of Australian Workers 2005 - researched, developed and produced between1990 and 2005. Each of the submitted documentary films treats an event or individual that made a decisive and lasting contribution to Australian political and social history in the course of the 20th Century. The projects also had the good fortune to win support from institutions such as the Australian Film Commission, the Australian Research Council, the Film Finance Corporation, the Australian Foundation for Culture and the Humanities and the Australian Broadcasting Corporation. The selected films may be viewed as representing a sustained exploration of the relations between documentary modes and production practices, the uses of oral history, the institution of television, and certain understandings of Australian Politics. Taken together, the works exemplify some significant issues in the documentary representation of Australia political and social history. All the films take their content from the field of Australian political and social history; all work within the limits of the 'Television Hour' - from 51 to 60 minutes for public broadcasters; and all emply a mix of interview and archival materials in their construction. Crucially, the films emphasise the experience, opinions and testimaony of participants and witnesses rather than experts. Each film also employs elements of an approach to compilation filmmaking which can be traced to the montage strategy pioneered by the Soviet filmmaker Esther Shub; celebrated by Jay Leyda in his groundbreaking study 'Films Beget Films' (1964).
Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Griffith Film School
Arts, Education and Law
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010". Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.

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While much has been written on the Australian film and television industry, little has been presented by actual producers, filmmakers and technicians of their time and experiences within that same industry. Similarly, with historical documentaries, it has been academics rather than filmmakers who have led the debate. This thesis addresses this shortcoming and bridges the gap between practitioner experience and intellectual discussion, synthesising the debate and providing an important contribution from a filmmaker-academic, in its own way unique and insightful. The thesis is presented in two voices. First, my voice, the voice of memoir and recollected experience of my screen adventures over 38 years within the Australian industry, mainly producing historical documentaries for the ABC and the SBS. This is represented in italics. The second half and the alternate chapters provide the industry framework in which I worked with particular emphasis on documentaries and how this evolved and developed over a 40-year period, from 1970 to 2010. Within these two voices are three layers against which this history is reviewed and presented. Forming the base of the pyramid is the broad Australian film industry made up of feature films, documentary, television drama, animation and other types and styles of production. Above this is the genre documentary within this broad industry, and making up the small top tip of the pyramid, the sub-genre of historical documentary. These form the vertical structure within which industry issues are discussed. Threading through it are the duel determinants of production: ‘the market’ and ‘funding’. Underpinning the industry is the involvement of government, both state and federal, forming the three dimensional matrix for the thesis. For over 100 years the Australian film industry has depended on government support through subsidy, funding mechanisms, development assistance, broadcast policy and legislative provisions. This thesis aims to weave together these industry layers, binding them with the determinants of the market and funding, and immersing them beneath layers of government legislation and policy to present a new view of the Australian film industry.
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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Hoehne, Craig John. "Forged under the Hammer and Sickle: The Case of Geoffrey Powell, 1945–1960". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366519.

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Forged under the Hammer and Sickle, The Case of Geoffrey Powell 1945–1960 is a multimodal exhibition and exegesis that concerns the post-war production of photographer-turned-documentary-filmmaker Geoffrey Powell (1918–1989). It re-evaluates Powell's production through the prism of his socio-political evolution from reactionary to Marxist. Within the photo-historical literature, he is defined as a participant in the mainstream Post-War Documentary Movement in photography. However, my research has revealed that Powell belonged to a cross-disciplinary nexus of creative thought. He was a member of the Australian Communist Party and his photographic production was all but confined to Socialist Realist journals. This Marxist affiliation imposed strictures on the way in which he engaged with subjects as well as the aesthetics of his work. He was also an active participant on the progressive ‘Arts Front’. An interest in expository film by the progressive Left tweaked a curiosity in Powell, which ultimately encouraged his move into documentary filmmaking. Through the patronage of progressive film producer John Heyer, Powell became employed at the Department of Information (DOI) Film Unit as a cinematographer from March 1946. At the DOI, he was a member of the Heyer documentary group that embraced the notion of "dramatising within the realm of reality". In keeping with the Leftist cultural element that operated within the film unit—that engaged with outside radical film production for militant labour unions—Powell assisted the Miners' Federation in the production of photography for their Amenities Campaign in 1947.
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Vickery, Edward Louis, i annaeddy@cyberone com au. "Telling Australia's story to the world: The Department of Information 1939-1950". The Australian National University. Faculty of Arts, 2003. http://thesis.anu.edu.au./public/adt-ANU20040721.123626.

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This study focuses on the organisation and operation of the Australian Government’s Department of Information that operated from 1939 to 1950. Equal weighting is given to the wartime and peacetime halves of the Department’s existence, allowing a balanced assessment of the Department’s role and development from its creation through to its abolition. The central issue that the Department had to address was: what was an appropriate and acceptable role for a government information organisation in Australia’s democratic political system? The issue was not primarily one of formal restrictions on the government’s power but rather of the accepted conception of the role of government. No societal consensus had been established before the Department was thrust into dealing with this issue on a practical basis. While the application of the Department’s censorship function attracted considerable comment, the procedures were clear and accepted. Practices laid down in World War I were revived and followed, while arguments were over degree rather than kind. It was mainly in the context of its expressive functions that the Department had to confront the fundamental issue of its role. This study shows that the development of the Department was driven less by sweeping ministerial pronouncements than through a series of pragmatic incremental responses to circumstances as they arose. This Departmental approach was reinforced by its organisational weakness. The Department’s options in its relations with media organisations and other government agencies were, broadly, competition, compulsion and cooperation. Competition was never widely pursued and the limits of compulsion in regard to its expressive functions were rapidly reached and withdrawn from. Particularly through to 1943 the Department struggled when it sought to assert its position against the claims of other government agencies and commercial organisations. Notwithstanding some high profile conflicts, this study shows that the Department primarily adopted a cooperative stance, seeking to supplement rather than supplant the work of other organisations. Following the 1943 Federal elections the Department was strengthened by stable and focused leadership as well as the development of its own distribution channels and outlets whose audience was primarily overseas. While some elements, such as the film unit, remained reasonably politically neutral, the Department as a whole was increasingly employed to promote the message of the Government of the day. This led to a close identification of the Department with the Labor Party, encouraging the Department’s abolition following the Coalition parties’ victory in the 1949 Federal elections. Nevertheless in developing its role the Department had remained within the mainstream of administrative practice in Australia. While some of its staff assumed a greater public profile than had been the practice for prewar public servants, this was not unusual or exceptional at that time. Partly through the efforts of the Department, the accepted conception of the role of government had expanded sufficiently by 1950 that despite the abolition of the Department most of its functions continued within the Australian public sector.
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Mazzoli, Valentina. "Le tecniche di sincronizzazione del voice-over: analisi della proposta di adattamento per il voice-over in italiano del documentario Utopia di John Pilger". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16047/.

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This dissertation focuses on the translation mode for audiovisual products known as voice-over. This practice has always been neglected by Translation Studies, in favour of more popular translation methods such as dubbing and subtitling. However, it is often ignored that voice-over is the preferred translation mode for the non-fiction genre. Moreover, it is gaining increasing popularity due to its inexpensive and fast approach, and as such it deserves more attention. Through the translation of Utopia, a documentary on native Australians by John Pilger, this study aims at providing a work pattern for voice-over translation, and a quantitative and qualitative analysis of a defining element of this translation mode: synchronization techniques. The analysis is thus based on the classification of the four different types of voice-over synchronies proposed by Franco, Matamala, and Orero (2010): voice-over isochrony, literal synchrony, kinetic synchrony, and action synchrony.
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Książki na temat "Australian documentary"

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1949-, Jones Catherine, red. A documentary history: Australian nationalism. North Ryde, NSW: Angus & Robertson, 1991.

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Pat, Laughren, i Williamson Dugald 1946-, red. Australian documentary: History, practices and genres. Port Melbourne, Vic: Cambridge University Press, 2011.

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Bain, Attwood, i Markus Andrew, red. The struggle for aboriginal rights: A documentary history. [St. Leonards], NSW, Australia: Allen & Unwin, 1999.

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Foster, Lois. Australian multiculturalism: A documentary history and critique. Clevedon: Multilingual Matters, 1988.

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David, Stockley, red. Australian multiculturalism: A documentary history and critique. Clevedon, Avon, England: Multilingual Matters Ltd, 1988.

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Foster, Lois. Australian multiculturalism: A documentary history and critique. Clevedon: Multilingual Matters, 1988.

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Remixing politics: 3 documentary theatre works by version 1.0. Strawberry Hills, N.S.W: Currency Press, 2012.

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1933-, McCarthy John, red. Australian war strategy, 1939-1945: A documentary history. St. Lucia: University of Queensland Press, 1985.

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Snape, Richard H. Australian trade policy, 1965-1997: A documentary history. St. Leonards, NSW., Australia: Allen & Unwin, 1998.

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Australian post-war documentary film: An arc of mirrors. Bristol, UK: Intellect, 2008.

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Części książek na temat "Australian documentary"

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Smaill, Belinda. "Loss and Care: Asian Australian Documentary". W The Documentary, 97–113. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230251113_5.

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Williams, Deane. "Grierson’s Legacies: Australia and New Zealand". W The Documentary Film Book, 147–52. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_16.

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Thornley, Davinia. "“My Whole Area Has Started to Be about What’s Left Over”: Alec Morgan, “Stolen Histories,” and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence". W Cinema, Cross-Cultural Collaboration, and Criticism, 51–73. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137411570_3.

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Bennett, James E. "Australia’s War through the Lens of Centenary Documentary: Connecting Scholarly and Popular Histories". W Australians and the First World War, 221–39. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51520-5_13.

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Dhupelia-Mesthrie, Uma, i Margaret Allen. "6. Controlling Transnational Asian Mobilities: A Comparison of Documentary Systems in Australia and South Africa, 1890s to 1940s". W Making Surveillance States, redaktorzy Robert Heynen i Emily van der Meulen, 133–62. Toronto: University of Toronto Press, 2019. http://dx.doi.org/10.3138/9781487517298-010.

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Ilic, Nina. "A comparison of high-tier regulatory documents pertaining to biologic drugs including mesenchymal stromal cells in Australia, Europe, and the USA using a manual documentary analysis". W The Biology and Therapeutic Application of Mesenchymal Cells, 628–44. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118907474.ch44.

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Williamson, Dugald. "Television Documentary". W Australian Television, 88–102. Routledge, 2020. http://dx.doi.org/10.4324/9781003114949-7.

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Moran, Albert. "Australian Documentary Cinema". W Australian Film Theory and Criticism, 271–84. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xw41t.32.

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King, Noel. "Recent ‘Political’ Documentary:". W Australian Film Theory and Criticism, 127–37. Intellect Books, 2018. http://dx.doi.org/10.2307/j.ctv36xw41t.19.

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Williams, Deane, i John Hughes. "No Going Back: Continuity and Change in Australian Documentary". W Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0003.

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This chapter discusses how, over the years, Australian filmmakers have responded to the public broadcaster's control over documentary funding, forms, production, and distribution patterns. It assess the evolution of the role of Australian television by focusing on a group of films dealing with asylum seekers, refugees, and immigration. Here, independence is not only understood in terms of production and distribution patterns, but also in terms of political stance and social commitment. The chapter examines two projects: one that sits at the commencement of official government filmmaking, and another, a television series emblematic of recent developments in Australian factual programming. Both of these projects, Mike and Stefani (1952) and Go Back to Where You Came From (2011) address Australian responses to asylum seekers and refugees.
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Streszczenia konferencji na temat "Australian documentary"

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Thavaruban Thavapragasam, Xavier. "ERP Systems and User Perceptions: An Approach for Implementation Success". W InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2830.

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The growth of Enterprise Resource Planning (ERP) systems since the 90’s has been immense. Their organisational wide functionality is vast and overall capabilities are enormous but their success, usability and the user perception is questioned in the information systems (IS) literature. This paper looks at an implemented ERP system in a large Australian University. The core aspect of the paper is the user perception on the implemented system, which is measured by two criteri-ons: user satisfaction and post-implementation factors. The author is using interviews, documentary analysis and observation techniques for data gathering. Based on the gathered findings, the author portrays the use of participatory design (PD) methods as a possible tool for successful ERP implementation. User-Centred Design (UCD) and Joint Application Development (JAD) were compared as part of the PD approach and it was concluded that the UCD approach would best suit for the development and the implementation of an ERP system.
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Chummuangpak, Manoch. "EXPLORING REFUGEE AGENCY THROUGH DOCUMENTARY PRODUCTION OF RESETTLING KAREN IN AUSTRALIA". W World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5111.

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Amirjani, Rahmatollah. "Labour Housing and the Normalisation of Modernity in 1970s Iran". W The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4020p1tmw.

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In the 1970s, rapid modernisation fuelled population displacement and increased the number of workers in the large cities of Iran, in particular Tehran. In response, the Imperial Government initiated several housing programs focusing on the provision of megastructures on a large scale. Consequently, a new opposition formed among some sectors of society, regarding the dissemination of gigantic buildings in the International or Brutalist styles. Critics and clerics argued that the radical government interventions not only polarised the image of Islamic identity in cities, but also affected the behaviour of people towards, and their opinions concerning, the Islamic lifestyle. Additionally, some claimed the state aimed to normalise its project of modernity and rapid westernisation for the mid- and lower classes using housing. In this regard, this article investigates the 1970s imperial government social housing programs to verify these claims. Using an extensive literature review, documentary research, observation, and descriptive data analysis, this article argues that, despite the government politics and modernisation tendencies in the 1970s, consumerism, political competition, the state of Cold War, and the emergence of new construction techniques, all resulted in the emergence of mass-produced megastructures offering a new luxurious lifestyle to residents. While the life and hygiene of the different classes were improved, these instant products inevitably facilitated the normalisation of Western lifestyle among the mid- and low-income groups of the society. Eventually, this visible social transition was utilised by opposition leaders as another excuse to topple the Pahlavi regime under the 1979 Islamic Revolution.
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