Title
Author
The Anthropological Unconscious of Iranian Ethnographic Films: A Brief Take
Pre-Revolution Ethnographic Filmmaking: Salvage Ethnography Ethnographic filmmaking—defined as making films that represent one culture to…
A Critical Overview of Bahram Beyzaie’s Dramatic and Cinematic Oeuvre: Contour in Time (1959-2023)
Marginality, Epistemic Privilege and Creative Impulse Any overview of Beyzaie’s oeuvre must first examine the…
Tracing the Tooba Character in Rakhshan Banietemad’s Cinema
Drawn out by Rakhshan Banietemad in 1985, the role of Tuba, the filmmaker’s most iconic…
Asghar Farhadi
Asghar Farhadi was born in 1972 in Homayunshahr, also known as Sedeh (now called Khomeinishahr),…
Self-Reflexivity in Iranian New Wave Cinema
Introduction In Khers (translated into English as No Bear [2022]), the acclaimed filmmaker Jafar Panahi,…
Kīyānūsh ‛Ayyārī’s The Abadanis: A Historical Testimony Silenced
Leading Iranian filmmakers in both pre- and post-revolutionary stages have been practitioners of reality depiction,…
Screening Love The Forbidden in Rakhshan Banietemad’s Nargess (1992)
Before the narrative even begins, Rakhshan Banietemad’s Nargess of 1992 engages with the theme of…
Public Taste in Films
During the 1950s, public taste emerged as one of the most highly debated topics in…
Alternative Cinema: A Cinematic Revolution before the 1979 Revolution
Iranian pre-revolutionary cinema has been characterized by different cinematic trends. While distinct in their modes…
Film Production at Kanun-i Parvarish-i Fikry (Center for the Intellectual Development of Children and Young Adults)
Introduction Non-fiction, sponsored, institutional, and children’s films are integral to the history of Iranian cinema….
Mahdi Ivanov (Rusi Khan)
Mahdi (Rusi Khan) Ivanov was born in Tehran on 15 October 1875 of Russian Tatar…
Film-e Faakher, the “Magnificent Productions”, or the “Islamic Blockbusters “ of Mahmoud Ahmadinejad’s Second Presidential Term
Background When Mahmoud Ahmadinejad was returned at the disputed June 12 2009 election, massive protests…
Poetic Pictures: The Feminization of Iranian Cinema
Introduction In a nation where poetry permeates common parlance, is used to justify arguments, offer…
The Hidden Half
In The Hidden Half, the fictional narrative of a female activist’s life history generates a…
‛Abbās Kīyārustamī’s Early Cinema: The Production of Gendered Space in 1970s Iran
Introduction This article examines the early cinematographic works of ‛Abbās Kīyārustamī (1940-2016), spotlighting the intricate…
From Defense to Intervention: The Iran-Iraq War on Screen and the Evolution of Sacred Defense Cinema
Introduction Despite having ended nearly 40 years ago, the Iran-Iraq War (1980-1988) still resonates today,…
Tehran in Iranian Post-Revolutionary Films
Introduction Cities and urban spaces have always provided a leading geographical platform for cinematic narratives….
Women’s Cinema in Post-Revolutionary Iran
Iranian women’s cinema is a theater of activism, audacity, and determination and women have played…
Iranian Horror Cinema
… the shadow (sayah) has an importance in the non-material world (ghayr-i madi)… etymologically, the…
Silent Cinema
To research silent cinema in Iran is to reconsider what aspects of cinema history, broadly…
Internet Cinema: A Cinema of Embodied Protest
This article is about an emergent form of cinema in whose production and propagation most…
The International Reception of Iranian cinema
Introduction Iranian cinema entered the European film festival scene in the 1960s.1Roy Armes, Third World Filmmaking…
A Simple Event
Introduction This article offers an analysis of Suhrāb Shahīd Sālis’s debut film, A Simple Event…
Travelers (1991)
Mahtāb, with her husband and two young sons, travels from northern Iran to Tehran in…
Taste of Cherry
In the film Taste of Cherry (Dir. ‛Abbās Kīyārustamī, 1997), Mr. Badīʻī (played by Humāyūn…
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