Title
Author
The Anthropological Unconscious of Iranian Ethnographic Films: A Brief Take
Ethnographic filmmaking—defined as making films that represent one culture to another or to itself—emerged in…
Screening Love: The Forbidden in Rakhshān Banī-i‛timād’s Nargis
Before the narrative even begins, Rakhshān Banī-i‛timād’s Nargis (Nargess) of 1992 directly engages the theme…
Asghar Farhādī
Asghar Farhādī was born in 1972 in Humāyūnshahr, also known as Sidah (now called Khumaynīshahr),…
Silent Cinema
To research silent cinema in Iran is to reconsider what aspects of cinema history, broadly…
The International Reception of Iranian Cinema
Introduction Iranian cinema entered the European film festival scene in the 1960s.1Roy Armes, Third World Filmmaking…
Film Production at Kānūn-i Parvarish-i Fikrī
Introduction Non-fiction, sponsored, institutional, and children’s films are integral to the history of Iranian cinema….
Internet Cinema: A Cinema of Embodied Protest
This article is about an emergent form of cinema in whose production and propagation most…
Ivanov (Rūsī Khan), Mahdī
Mahdī (Rūsī Khan) Ivanov was born in Tehran on 15 October 1875 of Russian Tatar…
Self-Reflexivity in Iranian New Wave Cinema
Introduction In Khirs nīst (translated into English as No Bear [2022]), the acclaimed filmmaker Ja‛far…
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….
Home in Cinema and Women at Home: A Comparative Study of Pre- and Post-Revolutionary Iranian Cinema from 1969 to 1999
Introduction This article focuses on the changes in the cinematic representation of home and how…
Women’s Cinema in Post-Revolutionary Iran
Iranian women’s cinema is a theater of activism, audacity, and determination and women have played…
Apartment Dramas in Iranian Cinema after the Green Movement
The turbulent events that unfolded during the Green Movement in Iran—ignited by the disputed results…
‛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…
Taʻm-i gīlās (Taste of Cherry, 1997)
In the film Taste of Cherry (by ‛Abbās Kīyārustamī, 1997), Mr. Badīʻī (played by Homayoun…
Musāfirān (Travelers, 1991)
Musāfirān (Travelers, 1991) “Travelers is a film about fertility, which may be what all my…
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…
A Girl Walks Home Alone at Night (2014) by Ana Lily Amirpour
A Girl Walks Home Alone at Night (2014) is the debut feature of Iranian-American director…
Poetic Pictures: The Feminization of Iranian Cinema
Introduction In a nation where poetry permeates common parlance, is used to justify arguments, offer…
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…
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,…
Maybe Some Other Time (Shāyad Vaqtī Dīgar)
Introduction Maybe Some Other Time (Shāyad Vaqtī Dīgar, 1988)1All the images employed in this text…
A Simple Event (Yik Ittifāq-i Sādah)
Introduction This article offers an analysis of Suhrāb Shahīd Sālis’s debut film, A Simple Event…
Iranian Horror Cinema
… the shadow (sayah) has an importance in the non-material world (ghayr-i madi)… etymologically, the…
A
- Abbas Kiarostami| ‛Abbās Kīyārustamī| عباس کیارستمی
- Abbas Kiarostami’s Documentary Objects; Cinema’s Powers From Rolling Cans to Errant Footballs
- Affective Listening
- Afsānah Bāyigān | Afsaneh Bayegan | افسانه بایگان
- Ali Hatami | ‛Alī Hātamī | علی حاتمی
- Ali Hatami’s Delshodegan (1992)
- Alternative Cinema: A Cinematic Revolution Before the 1979 Revolution
- Apartment Dramas
- Apartment Dramas in Iranian Cinema after the Green Movement
- Arbi Hovhannisean | Ārbī Uvānisiyān | آربی آوانسیان
- Art Cinema
- Asghar Farhadi and the Dubious Conscience of Post-Revolutionary Iran
- Asghar Farhadi | Asghar Farhādī | اصغر فرهادی
- Asghar Farhādī
- Aṣghar Farhādī
- A Comparative Study Concerning The First Two Films Directed by Iranian Women
- A Dragon Arrives!
- A Girl Walks Home Alone at Night (2014) by Ana Lily Amirpour
- A Moment of Innocence | Nūn va guldūn | نون و گلدون
- A Party in Hell | Shab’nishīnī dar jahannam | شب نشینی در جهنم
- A Separation | Judāʾī-i Nādir az Sīmīn | جدایی نادر از سیمین
- A Silenced Historical Testimony
- A Simple Event (Yik Ittifāq-i Sādah)
- A Simple Event (1973)
B
- Bahman Farmanara
- Bahman Farmanara | Bahman Farmānārā | بهمن فرمان آرا
- Bahram Beyzaei | Bahrām Bayzāyī | بهرام بیضائی
- Bashu, The Little Stranger (1986)
- Bashu, the Little Stranger| Bāshū gharībah-yi kūchak | باشو، غریبه کوچک
- Beehive | Kandū | کندو
- Behrouz Vossoughi
- Behrouz Vossoughi and The Failure of Rebelious Masculinity
- Brick and Mirror | Khisht va āyīnah | خشتو آیینه
- Bārān Kawsarī | Baran Kosari | باران کوثری
C
- Certified Copy
- Children of Heaven | Bachchah’hā-yi Āsmān| بچههای آسمان
- Children’s Cinema | Sīnima-yi Kūdak | سینمای کودک
- Children’s Films
- Cinematic Male-Female Relationships
- Cinematic Mise-En-Scène
- Cinema and sports in Iran | سینما و ورزش در ایران
- Cinema Dar Qāb Tambr
- Cinema Rex Fire
- Close-Up (1990)
- Comic Movies
- Connections Between Indian and Iranian Cinema
- Crime Genre in Iranian Cinema
- Crime Thriller Genre
- Crimson Gold | Talā-yi surkh̄ | طلای سرخ
- Cult for Context: The Curious Case of Mārmulak
D
- Dariush Mehrjui | Dāryūsh Mihrjūyī | داریوش مهرجویی
- Death of Yazdgerd | Marg-i Yazdgird | مرگ یزدگرد
- Death of Yazdgird | مرگ یزدگرد
- Documentary Cinema
- Documentary Films
- Documentary Iran in The 1950s: Village Films, Akhbār-i Irān Series, & The Cold War Story of US Government’s Documentary Diplomacy
- Documenting Iran in the 1950s: Village Films
- Domestic Violence in Contemporary Iranian Cinema
- Doubt in Love; Reinterpreting Love in Two Films from Makhmalbaf’s Cinema: The Time of Love – 1991 and Sex & Philosophy – 2005
- Downpour | Ragbār | رگبار
- Drama Movies
- Dukhtar-i Lur (Īrān-i imrūz va Īrān-i dīrūz) | دخترِ لُر (ایران امروز و ایران دیروز)
E
F
- Fakhrī Khurvash | Fakhri Khorvash | فخری خوروش
- Farrokh Ghaffari
- Farrokh Ghaffari | Farrukh Ghaffārī | فرخ غفاری
- Farsi Movie | Fīlmfārsī | فیلمفارسی
- Farzānah Ta’īdī | Farzaneh Taidi | فرزانه تاییدی
- Farīmāh Farjāmī | Farimah Farjami | فریماه فرجامی
- Fereydoun Rahnema Between Archaism and Modernism Iran’s Son is Unaware of His Mother
- Fereydoun Rahnema | Farīdūn Rahnamā | فریدون رهنما
- Fereydoun Rahnema’s Postmodernist Approach in Siavash in Persepolis
- Fereydun Gole
- Fereydun Goleh | Farīdūn Gūlah | فریدون گُله
- Filming Locations
- Filming Locations in Iranian Cinema Before The Revolution (1930-1979)
- Film Adaptations and Narrative Change in Persian Fiction
- Film Aesthetics
- Film Criticism
- Film Dubbing
- Film Dubbing Before 1979
- Film Music | Mūsīqī’yah film | موسیقی فیلم
- Film Production at Kānūn-i Parvarish-i Fikrī
- Film Schools and Education
- Film-e Faakher
- Film-Farsi and Everyday Life: Popular Cinema and Modernity in Pre-Revolutionary Iran
- Forced Empathy and the Geopolitics of Memory in Bahman Ghobadi’s Films
- Forouzan (Parvin Kheirbakhsh) | فروزان (پروین خیربخش)
- From Defense to Intervention: The Iran-Iraq War on Screen and the Evolution of Sacred Defense Cinema
- From Golden City to Felestin: The Onomastics of Cinema Halls in Tehran
- From Karkheh to Rhein| Az Karkhah tā Rāyn | از کرخه تا راین
- From Mehrin Negar to Tara: The Evolution of Female Protagonists in Bahram Beyzaie’s “The Snake King” (1966) and “The Ballad of Tara” (1978-9)
- From Mongols to Television and Cinema (The Mongols / Mogholha- Parviz Kimiavi)
- From The Lor Girl to Bride of Fire: Tribal Women in Iranian Cinema
- From “Golden City” to “Felestin”: The Onomastics of Cinema Halls in Tehran
- Furuzan
- Furūzān Bihrūz | Forouzan Behrouz | فروزان بهروز
- Fātimah Mu‛tamid’āryā | Fatemeh Motamed-Arya | فاطمه معتمدآریا
G
H
- Hadīyah Tihrānī | Hedieh Tehrani | هدیه تهرانی
- Haji Agha, the Cinema Actor | Hājī Āghā Āktur-i Sīnamā | حاجیآقا اکتور سینما
- Hamoun by Dāriūsh Mehrjū’ī
- Hamoun | Hāmūn| هامون
- Hamīdah Khayrābādī | Hamideh Kheirabadi | حمیده خیرآبادی
- Hasan, the Bald | Hasan-Kachal | حسن کچل
- Hauntologies of The Present: Notes on Politics of Friendship in Férydoun Rahnéma’s Modernism
- Hingāmah Ghāzīyānī | Hengameh Ghaziani | هنگامه قاضیانی
- Home in Cinema and Women at Home: A Comparative Study of Pre- and Post-Revolutionary Iranian Cinema from 1969 to 1999
- Home in Cinema and Women at Home: A Comparative Study of Pre- and Post-Revolutionary Iranian Cinema from 1969 to 1999
- Horror & Authority in Farrokhzad’s Khānah Siyāh Ast
- Hossein Alizadeh’s Film Scores
- How Frightening Your Makings: Epidemics, Mass Metamorphoses, and Bodies of the Iranian New Wave Cinema
- Humā Rūstā | Homa Rousta | هما روستا
- Hyper-Realism in Digital Films by Abbas Kiarostami
- Hānīyah Tavassulī | Hanieh Tavassoli | هانیه توسلی
I
- Ibrāhīm Gulistān
- Ideology and Social Classes in Iranian Cinema
- Impasse | Tangnā | تنگنا
- Internet Cinema: A Cinema of Embodied Protest
- Invectivity in Asghar Farhadi’s Movie
- Iranian Cinema and International Film Festivals: A Crossroads Between Arts and Politics
- Iranian cinema and masculinity | Sinimā-yi Īrān va mardānigī | سینمای ایران و مردانگی
- Iranian Cinema and Women | Sinimā-yi Īrān va zanān | سینمای ایران و زنان
- Iranian Cult Cinema
- Iranian Film Criticism
- Iranian Horror Cinema
- Iranian Women Filmmakers
- Iran’s Cinema in Pursuit of Happiness: Part I (1951-1971)
- Iran’s Son is Unaware of His Mother
- Iran’s Cinematic Winter; Under The International Politics
- Irene Zazians | ایرن زازیانس
- Ivanov (Rūsī Khan), Mahdī
- I’m Taraneh, 15 | Man Tarānah 15 sāl dāram | من، ترانه 15سال دارم
J
K
L
M
- Mahtāb Karāmatī | Mahtab Keramati | مهتاب کرامتی
- Mahīn Shahābī | Mahin Shahabi | مهین شهابی
- Majid Majidi
- Malakah Ranjbar | Malakeh Ranjbar | ملکه رنجبر
- Male-Female Relationship in Post-Revolutionary Iranian Cinema
- Maryam Amīrjalālī | Maryam Amirjalali | مریم امیرجلالی
- Masoud Kimiai | Mas‛ūd Kīmīyāyī | مسعود کیمیایی
- Maybe Some Other Time (Shāyad Vaqtī Dīgar)
- Mehdi Missaghieh | Mihdī Mīsāqīyyah | مهدی میثاقیه
- Mirīlā Zāri‛ī | Merila Zarei | مریلا زارعی
- Mise En Abym in Iranian Movies
- Mohsen Makhmalbaf
- Mohsen Makhmalbaf | Muhsin Makhmalbāf | محسن مخملباف
- Morteza Hannaneh | Murtizā Hannānah | مرتضی حنانه
- Movie Genres
- Movie Theatres
- Multilinguality in Iranian Cinema
- Mushegh Sarvarian | Mūshiq Sarvarī (Sarvarīyān) | موشق سروری
- Musāfirān (Travelers, 1991)
- Mītrā Hajjār | Mitra Hajjar | میترا حجار
N
- Nargess | Narghis | نرگس
- Naser Malek Motiei | ناصر ملکمطیعی
- Nasir Malek Motiʿi
- Nasser Taghvai
- Nasser Taghvai | Nāsir Taqvāyī | ناصر تقوایی
- Nativism and Utopia in Parviz Kimiavi’s OK Mister
- New Wave Cinema | Sīnamā-yi mawj-i naw̄ | سینمای موج نو
- Night of the Hunchback | Shab-i Qūzī | شب قوزی
- Nigār Javāhirīyān | Negar Javaherian | نگار جواهریان
- Nosratollah Karimi | Nusrat-Allāh Karīmī | نصرت الله کریمی
- Nīkī Karīmī | Niki Karimi | نیکی کریمی
- Nīkū Khiradmand | Nikoo Kheradmand | نیکو خردمند
- Nūrī Kasrā’ī | Nuri Kasrayi | نوری کسرایی
P
- Parviz Kimiavi
- Parviz Kimiavi | Parvīz Kīmiyāvī | پرویز کیمیاوی
- Parviz Sayyad | Parvīz Sayyād| پرویز صیاد
- Parvānah Ma‛sūmī | Parvaneh Massoumi | پروانه معصومی
- Parīnāz Īzadyār | Parinaz Izadyar | پریناز ایزدیار
- PetroCinema in Iran: The Three Waves
- Petrocinema| سینما و صنعت نفت
- Pigāh Āhangarānī | Pegah Ahangarani | پگاه آهنگرانی
- Poetic Pictures: The Feminization of Iranian Cinema
- Postmodern Storytelling in Iranian Cinema: Shahram Mokri Films
- Post-Revolutionary Cinema
- Post-Revolutionary Masculinities
- Precarity and Possibility: The Labor of Underground Video Dealers in Iran
- Prince Ehtejab | Shāzdah Ihtijāb |شازده احتجاب
- Public Taste in Films
- Pānti’ā Bahrām | Pantea Bahram | پانتهآ بهرام
- Pūrī (Siddīqah) Banāyī | Pouri (Seddigheh) Banayi | پوری بنایی
R
- Rakhshan Banietemad | Rakhshān Banī’iʿtimād | رخشان بنیاعتماد
- Rakhshan Banietemad’s Social Realism
- Ra‛nā Āzādīvar | Rana Azadivar | رعنا آزادیور
- Reception of Cinema in Iranian Society and Culture
- Redefining the Image/Representation of Women in Post Revolution Cinema
- Reform and Its Discontents: Youth and Precarious Life in Postrevolutionary Iran
- Reform Cinema
- Representation of Children and Childhood in Iranian Cinema
- Representation of Urban Ruins in Iranian New Wave Cinema
- Revolutionary cinema | Sīnimā-yi Inqilābī | سینمای انقلابی
- Ruqayyah Chihrah-Āzād | Roghayeh Chehreh-Azad | رقیه چهره آزاد
- Ruyā Taymūrīyān | Roya Teymourian | رویا تیموریان
S
- Sacred Defense Cinema | Sīnamā–yi difāʿ–i muqaddas | سینمای دفاع مقدس
- Sahar Dawlatshāhī | Sahar Dolatshahi | سحر دولتشاهی
- Samira Makhmalbaf | Samīrā Makhmalbāf | سمیرا مخملباف
- Samuel Khachikian | Sāmūʼil Khāchīkiyān | ساموئل خاچیکیان
- Sardar Sager
- Sartorial Islamic Baroque
- Screaming in Silence; Representation of Sexual and Gender Minorities in Post-Islamic Revolution Iranian Cinema
- Screening Love: The Forbidden in Rakhshān Banī-i‛timād’s Nargis
- Self-Reflexivity in Iranian New Wave Cinema
- Shahlā Rīyāhī | Shahla Riahi | شهلا رياحي
- Shahscoping Lahore: Elective Affinites in the Era of Regional Cooperation and Development
- Shifting Paradigms: Childhood Constructs in Iranian Children’s Cinema Across Five Decades
- Shirin
- Shirin Neshat’s Land of Dreams: Moving From The Personal to The Universal
- Shirin | شیرین
- Shuhrah Āghdāshlū | Shohreh Aghdashloo | شهره آغداشلو
- Silent Cinema
- Sīnamā-yi Mawj-i Naw
- Sohrab ShahidSales
- Sohrab Shahid-Saless | Suhrāb Shahīd Sālis | سهراب شهید ثالث
- Sound Movies | Sīnamā-yi Nātiq̄ | سینمای ناطق
- South of the City | Junūb-i shahr | جنوب شهر
- Sport in Cinema
- Still Life | Tabī‛at-i bījān | طبیعت بیجان
- Surayā Qāsimī | Soraya Ghasemi | ثریا قاسمی
- Sūsan Taslīmī | Susan Taslimi | سوسن تسلیمی
T
- Tahmineh Milani
- Tahmineh Milani | Tahmīnah Mīlānī | تهمینه میلانی
- Tambourine | Dāyarah-ʼi Zangī | دایره زنگی
- Tangsir | Tangsīr | تنگسیر
- Tarānah ‛Alī-dūstī | Taraneh Alidoosti | ترانه علیدوستی
- Taste of Cherry | Taʿm-i Gīlās | طعم گیلاس
- Tawqi | Tawqī | طوقی
- Taʻm-i gīlās (Taste of Cherry, 1997)
- Tehran in Iranian Post-Revolutionary Films
- Tehran’s Universal Studios
- The Anthropological Unconscious of Iranian Ethnographic Films: A Brief Take
- The Apple | Sīb | سیب
- The Cinematic and Cultural Legacy of Farrokh Ghaffari
- The Cold War Story of US Government’s Documentary Diplomacy
- The Cow | Gāv | گاو
- The Crow | Kalāgh | کلاغ
- The cycle | Dāyarah-ʼi Mīnā | دایره مینا
- The Death of Sign; A Poetic Cinema of Mohammad Rezā Aslāni
- The Deer | Gavaznhā | گوزنها
- The Fateful Day | Rūz-i vāq‛ah | روز واقعه
- The Heart-Brokens | Sūtah’dilān | سوته دلان
- The Hidden Half | Nīma-yiPinhān | نیمه پنهان
- The House Is Black | Khānah siyāh ast | خانه سیاه است
- The Impact of Cinema on the Socio-Cultural Change in Iran
- The International Reception of Iranian Cinema
- The Introduction and Development of Cinema in Iranian Society and Culture
- The Invincible Six
- The Janitor | Sirāydār | سرایدر
- The Lizard (2004) (Marmulak), Guidance Patrol (2012) (Gasht-e Ershad) and the Semiotic Guerilla Warfare
- The Lost Love
- The Night It Rained | Ūn shab kih bārūn ūmad | اون شب که بارون اومد
- The Runner
- The Runner | Davandeh | دونده
- The Salesman (2016), Gheirat, and Negotiations With The State
- The Soundscape in Diasporic Iranian Cinema
- The Swallows return to the nest
- The Swallows return to the nest | Parastūhā Bi Lāna bār mīgardand | پرستوها به لانه بر می گردند
- The Tenants | Ejāre-nešinhā | اجاره نشینها
- The Use of Invectives in Iranian Cinema: A Case Study of Gender and Social Class in Asghar Farhadi’s Films
- The Wind Will Carry Us | باد ما را خواهد برد
- Through Olive Trees
- Towards A Micropolitics of Homo-eroticism In Shirin Neshat’s Women without Men
- Tracing The Tooba Character in Rakhshan Banietemad’s Cinema
- Two Women | DuZan | دو زن
U
- Underground: The Secret Life of Videocassettes in Iran
- Under the Skin of the City | Zīr-i pūst-i shahr | زیر پوست شهر
- Unsuccessful Efforts; Historical Assessment of Iranian Animation
- Unveiling Rouhangiz Saminejad: Iran’s Pioneering Actress Forgotten in History
- Using Visual Art to Circumvent Censorship and Enhance the Representation of Women in Iranian Cinema: A Study of ‘Unruled Paper,’ ‘Hamoun,’ and ‘What Time Is It in Your World