Figure 1: A screenshot from the film Let Me Live, directed by Shapour Qarib, 1986. Toward the Formation of the Image of Woman in the Turmoil of the Revolution In the thick of the revolution,…

In this article, I examine four movies, Offside, Cold Sweat, Hair, and Orca, to discuss how these movies address several central themes in women’s sports in Iran, including gender segregation in sports spaces, the socio-cultural…

Ethnographic filmmaking—defined as making films that represent one culture to another or to itself—emerged in Iran in the 1960s, driven by many factors, such as rapid modernization and the resulting population displacements and psychic and…

Introduction In this entry, I trace the trajectory of Bahrām Bayzā’ī’s creative impulse and examine his oeuvre to offer an analytical overview of his aesthetic and thematic concerns and innovations. Before embarking on my chronological…

Before the narrative even begins, Rakhshān Banī-i‛timād’s Nargis (Nargess) of 1992 directly engages the theme of love. As the film opens accompanied by the melodic score, a close-up of a conventional bride and groom figurine…

Figure 1: St. Petersburg, awaiting the arrival of Muzaffar al-Dīn Shah in 1902. In addition to the films of Mirza Ibrāhīm Khan ‛Akkāsbāshī, created before the Constitutional Revolution of 1905, and Georges Ismā‛īluf’s news report…

Figure 1: Poster for the film Parastū-hā bih lānah bar-mīgardand (The Swallows Return to Their Nest), Directed by Majīd Muhsinī, 1964. Introduction The release of Majīd Muhsinī’s (1923-1980) much-anticipated film The Swallows Return to Their…