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The Cinematography of Narges Abyar: The Camera as the Axis of Trauma, Hambre Del Alma, and Women’s Identity

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Forthcoming December 31, 2024

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(2024). The Cinematography of Narges Abyar: The Camera as the Axis of Trauma, Hambre Del Alma, and Women’s Identity. In Cinema Iranica. Encyclopaedia Iranica Foundation https://cinema.iranicaonline.org/article/the-cinematography-of-narges-abyar-the-camera-as-the-axis-of-trauma-hambre-del-alma-and-womens-identity/

. "The Cinematography of Narges Abyar: The Camera as the Axis of Trauma, Hambre Del Alma, and Women’s Identity." Cinema Iranica, Encyclopaedia Iranica Foundation, 2024. https://cinema.iranicaonline.org/article/the-cinematography-of-narges-abyar-the-camera-as-the-axis-of-trauma-hambre-del-alma-and-womens-identity/

(2024). The Cinematography of Narges Abyar: The Camera as the Axis of Trauma, Hambre Del Alma, and Women’s Identity. In Cinema Iranica. Encyclopaedia Iranica Foundation. Available from: https://cinema.iranicaonline.org/article/the-cinematography-of-narges-abyar-the-camera-as-the-axis-of-trauma-hambre-del-alma-and-womens-identity/ [Accessed December 20, 2024].

. "The Cinematography of Narges Abyar: The Camera as the Axis of Trauma, Hambre Del Alma, and Women’s Identity." In Cinema Iranica, (Encyclopaedia Iranica Foundation, 2024) https://cinema.iranicaonline.org/article/the-cinematography-of-narges-abyar-the-camera-as-the-axis-of-trauma-hambre-del-alma-and-womens-identity/

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Drawing on the ideas of Clarissa Pinkola Estés in her book Women Who Run With the Wolves (1992) and the philosophy of feminine consciousness, this series connects Iranian filmmaker’s works to a broader tradition of feminine consciousness that speaks to the instinctual and creative forces within women. The imagery of Narges Abyar’s films, much like the mythical stories examined by Estés, portrays women and young girls navigating the terrains of fear, loss, and self-reclamation, evoking the timeless hunger of the soul for freedom, self-expression, and spiritual wholeness. This paper positions Abyar’s cinematography as a profound exploration of women’s identity, where the camera is not merely a tool but a transformative force, revealing the layered complexities of trauma and empowerment in women’s lives. Through an analysis of her films, this study examines how the camera becomes the axis around which the narrative of feminine struggle revolves, creating a visual language that transcends mere observation and enters the realm of psychological introspection.