Title
Author
Iranian Poetic Cinema: Historical Perspectives and Reflections
Introduction Poetic cinema and film poetry are significant in global cinema history, especially in Europe. These ideas express different aspects of processing poetic material and developing narrative themes. They also propose new methods for expressing…
June 4, 2025
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31 min read
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“Tooba” in Rakhshan Banietemad’s Cinema
Drawn out by Rakhshan Banietemad in 1985, the role of Tuba, the filmmaker’s most iconic character, was initially reserved for Golab Adineh to perform in Under the Skin of the City (2001). As a result…
February 7, 2025
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19 min read
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Certified Copy (2010)
Figure 1: Poster for the film Certified Copy, Directed by ‛Abbās Kiyārustamī, 2010. An English art critic, James Miller, comes to Tuscany to promote the Italian translation of his latest book, Certified Copy. He delivers…
May 13, 2025
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14 min read
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The Abadanis (1993): A Historical Testimony, Silenced
Leading Iranian filmmakers in both pre- and post-revolutionary stages have been practitioners of reality depiction, the depiction of social realities under silencing restrictions and censorships, through varying degrees of cinematic realism. The majority of Iranian…
February 16, 2025
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37 min read
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Youth and Precarious Life in Iran (1979-present)
Figure 1: A still from the film Deep Breath (Nafas-i ‛Amīq, 2003) Parvīz Shahbāzī, Accessed via https://www.imvbox.com/en/movies/deep-breath-nafase-amigh (00:03:34) Introduction To demonstrate the inadequacy of the popular category “postrevolutionary Iranian cinema,” Blake Atwood introduced the term…
February 16, 2025
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24 min read
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A
- Abbas Kiarostami as a Universal Filmmaker
- Abbas Kiarostami, Asghar Farhadi, and Iranian Francophilia: Copie conforme, Le passé, and French Cinematic Affinities
- Abbas Kiarostami| ‛Abbās Kīyārustamī| عباس کیارستمی
- Abolfazl Purarab/Abolfażl Pūrārab/ابوالفضل پورعرب
- Abolhassan Davoodi/Abu Al-hasan Dāvūdī/ابوالحسن داوودی
- Accented Cinema: Muhsin Makhmalbāf’s Transnationalism
- Accented Cinema: Transnational Storytelling in Makhmalbaf’s Works and Their Global Impact
- Affective Listening
- Afsānah Bāyigān | Afsaneh Bayegan | افسانه بایگان
- Ahmad Reza Darvish/Ahmad Rizā Darvīsh/احمدرضا درویش
- Alireza Davood-Nejad/‛Alī Rizā Dāvūd-Nizhād/علیرضا داوودنژاد
- Ali Hatami | ‛Alī Hātamī | علی حاتمی
- Ali Hatami’s Delshodegan (1992)
- Alternative Cinema: A Cinematic Revolution Before 1979
- Amir Naderi as American Indie: Reading Manhattan By Numbers as an Iranian Film
- Amir Naderi/Amīr Nādirī/امیر نادری
- Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2014)
- Apartment Dramas in Iranian Cinema (2009-present)
- Arbi Hovhannisean | Ārbī Uvānisiyān | آربی آوانسیان
- Architecture as a Liminal Space in Cinema
- Architecture as a Liminal Space in Universal Language by Matthew Rankin
- Art Cinema
- Asghar Farhadi and the Dubious Conscience of Post-Revolutionary Iran
- Asghar Farhadi | Asghar Farhādī | اصغر فرهادی
- Asghar Farhadi: A Master of Moral and Aesthetic Ambiguity
- Aṣghar Farhādī
- Audacious Cinema: Transfiguration of ethical storytelling in Iran
- A Historical Wound: The Role of Ta‘ziya as a theater-ritual in Iranian Cinema
- 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 (1973)
B
- Bahman Farmanara
- Bahman Farmanara | Bahman Farmānārā | بهمن فرمان آرا
- Bahman Farmanara’s “A House Built on Water (Khānah-i rūy-i āb)”: Medical Ethics in Iranian Cinema (1979-present)
- Bahman Ghobadi | Bahman Qubādī | بهمن قبادی
- Bahram Beyzaei | Bahrām Bayzāyī | بهرام بیضائی
- Bahram Beyzaie’s Dramatic and Cinematic Oeuvre
- Bashu, The Little Stranger (1986)
- Bashu, the Little Stranger| Bāshū gharībah-yi kūchak | باشو، غریبه کوچک
- Beehive | Kandū | کندو
- Behrouz Afkhami/Bihrūz Afkhamī/بهروز افخمی
- Behrouz Vossoughi
- Behrouz Vossoughi: The Cult Star of Failed Rebellious Masculinity
- Behruz Vosuqi/Behruz Vosūqī/بهروز وثوقی
- Beyond Stories and Facts: On Abbas Kiarostami’s ‘Documentary Objects’
- Brick and Mirror | Khisht va āyīnah | خشتو آیینه
- Bārān Kawsarī | Baran Kosari | باران کوثری
C
- Children of Heaven | Bachchah’hā-yi Āsmān| بچههای آسمان
- Children’s Cinema | Sīnima-yi Kūdak | سینمای کودک
- Children’s Films
- Cinematic Male-Female Relationships
- Cinema and sports in Iran | سینما و ورزش در ایران
- Cinema Dar Qāb Tambr
- Cinema Rex Fire
- Circumventing Censorship in Iranian Cinema: On Unruled Paper and What Time Is It in Your World?
- Close Encounters of the Fifth Kind: An Analysis of Iranian Science Fiction
- Close Up | Kluz-āp | کلوزآپ
- Collective Sensuality: Exploring the Intimate Geographies of Cinema in Iran
- Comic Movies
- Configurations of Expertise: Sardar Sager in Tehran’s Film Studios
- Connections Between Indian and Iranian Cinema
- Cracking Biocinema: Biopoetical Intimacies in Pahlavi Iran
- Creating the image of “Decent Woman” in Iranian Films (1979-1989)
- 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
- Daryush Arjmand/Dāryūsh Arjmand/داریوش ارجمند
- Death of Yazdgerd | Marg-i Yazdgird | مرگ یزدگرد
- Death of Yazdgird | مرگ یزدگرد
- Doctors and Medical Ethics in Post-Revolutionary Iranian Cinema
- 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
- Downpour | Ragbār | رگبار
- Drama Movies
- Dukhtar-i Lur (Īrān-i imrūz va Īrān-i dīrūz) | دخترِ لُر (ایران امروز و ایران دیروز)
E
- Early Cinema
- Ebrahim Golestan
- Ebrahim Golestan | Ibrāhīm Gulistān | ابراهیم گلستان
- Ebrahim Golestan: Pioneering Narratives in Iranian Cinema
- Ebrahim Hatamikia | Ibrāhīm Hātamīkīyā | ابراهیم حاتمی کیا
- Ebrahim Khan Sahafbashi
- Ekhrajiha | Ikhrājīhā | اخراجی ها
- Esmail Koushan | Ismāʻīl Kūshān | اسماعیل کوشان
- Exploiting Sīghah: Gender, Power, and the Marginalization of Women in Iranian Media
- Ezzatollah Entezami/Ezzatollāh Entezāmī/عزت الله انتظامی
F
- Fakhrī Khurvash | Fakhri Khorvash | فخری خوروش
- Farhad Ayish/Farhād Ā’īsh/فرهاد آئیش
- Farīdūn Rahnamā’s Postmodernist Approach in Siavash in Persepolis
- Farrokh Ghaffari | Farrukh Ghaffārī | فرخ غفاری
- Farsi Movie | Fīlmfārsī | فیلمفارسی
- Farzānah Ta’īdī | Farzaneh Taidi | فرزانه تاییدی
- Farīdūn Gulah (Fereydun Goleh): An Enduring Mystery
- Farīmāh Farjāmī | Farimah Farjami | فریماه فرجامی
- Female Subjectivity in Dariush Mehrjuis Cinema
- Femininity and Modernity in The Sealed Soil by Marva Nabili
- Fereydoun Jeyrani/Farīdūn Jayrānī/فریدون جیرانی
- Fereydoun Rahnema Between Archaism and Modernism Iran’s Son is Unaware of His Mother
- Fereydoun Rahnema | Farīdūn Rahnamā | فریدون رهنما
- Fereydun Gole
- Fereydun Goleh | Farīdūn Gūlah | فریدون گُله
- Filming Locations
- Filming Locations as a Defining Feature of Fīlm-Fārsī (1930-1978)
- Film Adaptations and Narrative Change in Persian Fiction
- Film Adaptations and Narrative Change in Persian Fiction
- Film Aesthetics
- Film Criticism
- Film Dubbing
- Film Dubbing Before 1979
- Film Music | Mūsīqī-i Fīlm | موسیقی فیلم
- Film Music | Mūsīqī’yah film | موسیقی فیلم
- Film Production at Kānūn-i Parvarish-i Fikrī
- Film Schools and Education
- 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) | Furūzān (Parvīn Khayrbakhsh) | فروزان (پروین خیربخش)
- Forouzan (Parvin Kheirbakhsh) | فروزان (پروین خیربخش)
- Freedom of Movement: Patriarchy, Gender and Space in Iranian Cinema
- From Golden City to Felestin: The Onomastics of Cinema Halls in Tehran
- From Hollywood to Tehran: American Movies in Iran Before the Revolution American Dreams in Iranian Theaters: Hollywood’s Rise Before 1979
- From Karkheh to Rhein| Az Karkhah tā Rāyn | از کرخه تا راین
- From Mongols to Television and Cinema
- From Persian Cats to Rap and Revolution: The Battleground for Love, Freedom, and Human Rights in Iran and its Diaspora
- 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
- Ganjeh Qaroon | Ganj-i Qārūn | گنج قارون
- Ganj-I Qarun
- Gendered Spaces on Screen: Iranian Cinema’s Reflections on Urban Life
- Gendered Space in Abbas Kiarostami’s Early Cinema
- Gilan and the Jangal Movement: On Amir Ghavidel’s Sardar-e Jangal (1983)
- Gulshīftah Farahānī | Golshifteh Farahani | گلشیفته فراهانی
- Gulāb Ādīnah | Golab Adineh | گلاب آدینه
- Gāv
H
- Hadīyah Tihrānī | Hedieh Tehrani | هدیه تهرانی
- Haji Agha, the Cinema Actor | Hājī Āghā Āktur-i Sīnamā | حاجیآقا اکتور سینما
- Hamid Nematollah/Hamīd Nimatallāh/حمید نعمت الله
- Hamid Reza Ashtianipoor/Hamīd Rizā Āshtīyānīpūr/حمیدرضا آشتیان پور
- 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 (1969–1999)
- 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
- Hosayn Panahi/Ḥosayn Panāhī/حسین پناهی
- 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
- Ideological Cinema in Iran
- Ideology and Social Classes in Twenty-First Century Iranian Cinema
- Impasse | Tangnā | تنگنا
- Internet Cinema: A Cinema of Embodied Protest
- Invectivity in Asghar Farhadi’s Movie
- Iraj Tahmasb/Īraj Tahmāsb/ایرج طهماسب
- 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 Poetic Cinema
- Iranian Poetic Cinema: Historical Perspectives and Reflections
- 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
- I’m Taraneh, 15 | Man Tarānah 15 sāl dāram | من، ترانه 15سال دارم
J
K
- Kamal Tabrizi/Kamāl Tabrīzī/کمال تبریزی
- Kambuzia Partovi/Kāmbūzīyā Partuvī/کامبوزیا پرتوی
- Katāyūn Amīr-Ibrāhīmī | Katayoun Amir-Ebrahimi | کتایون امیرابراهیمی
- Katāyūn Rīyāhī | Katayoun Riahi | کتایون ریاحی
- Khosrow Shakibaei/Khosrow Shakībāʾī/خسرو شکیبایی
- Khosrow Sinai/Khusraw Sīnāyī/خسرو سینایی
- Kianoush Ayari | Kīyānūsh ‛Ayyārī | کیانوش عیاری
- king of the hearts | Sultān-i qalb’hā | سلطان قلبها
- Kiumars Pourahmad/Kīyūmars Pūrahmad/کیومرث پوراحمد
L
M
- Magnificent Productions (Film-ī Fākhir) or Islamic Blockbusters of 2005-2013
- Mahdī Ivanov (Rūsī Khan): The Enigmatic Pioneer of Iranian Cinema
- Mahtāb Karāmatī | Mahtab Keramati | مهتاب کرامتی
- Mahīn Shahābī | Mahin Shahabi | مهین شهابی
- Majid Majidi
- Majid Majidi/Majīd Majīdī/مجید مجیدی
- Malakah Ranjbar | Malakeh Ranjbar | ملکه رنجبر
- Male-Female Relationship in Post-Revolutionary Iranian Cinema
- Mani Haghighi/Mānī Haqīqī/مانی حقیقی
- Maryam Amīrjalālī | Maryam Amirjalali | مریم امیرجلالی
- Marzieh Boroomand/Marzīyah Burūmand/مرضیه برومند
- Masoud Abparvar/Mas‛ūd Ābparvar/مسعود آبپرور
- Masoud Jafari-Jozani/Mas‛ūd Ja‛farī Jawzānī/مسعود جعفری جوزانی
- Masoud Kimiai | Mas‛ūd Kīmīyāyī | مسعود کیمیایی
- Mehdi Fakhimzadeh/Mahdī Fakhīmzādah/مهدی فخیم زاده
- Mehdi Missaghieh | Mihdī Mīsāqīyyah | مهدی میثاقیه
- Meteoric Rise and Demise of Rūhangīz Sāmīnizhād, Iran’s First Actress
- Mirīlā Zāri‛ī | Merila Zarei | مریلا زارعی
- Mohammad Ali Fardin/Moḥammad ʿAlī Fardīn/محمدعلی فردین
- Mohammad Reza Aslani | Muhammad Rizā Aslānī | محمدرضا اصلانی
- Mohsen Amiryoussefi/Muhsin Amīryūsufī/محسن امیریوسفی
- Mohsen Makhmalbaf | Muhsin Makhmalbāf | محسن مخملباف
- Morteza Hannaneh | Murtizā Hannānah | مرتضی حنانه
- Movie Genres
- Movie Theatres
- Moḥammad Ali Keshavarz/Moḥammad ʿAlī Keshāvarz/محمد علی کشاورز
- Multilinguality in Iranian Cinema
- Mushegh Sarvarian | Mūshiq Sarvarī (Sarvarīyān) | موشق سروری
- Mītrā Hajjār | Mitra Hajjar | میترا حجار
N
- Nargess | Narghis | نرگس
- Naser Malek Motiei | Nāsir Malak-mutī‛ī | ناصر ملک مطیعی
- 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
- Navid Mohammadzadeh/Navīd Moḥammadzādeh/نوید محمدزاده
- 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
O
P
- Parsa Piruzfar/Pārsā Pīrūzfār/پارسا پیروزفر
- Parviz Goes to College: A 1930s Missionary Film in Context
- Parviz Kimiavi | Parvīz Kīmiyāvī | پرویز کیمیاوی
- Parviz Sayyad | Parvīz Sayyād| پرویز صیاد
- Parviz Shahbazi/Parvīz Shahbāzī/پرویز شهبازی
- Parvānah Ma‛sūmī | Parvaneh Massoumi | پروانه معصومی
- Parīnāz Īzadyār | Parinaz Izadyar | پریناز ایزدیار
- Payman Maadi/Paymān Maʿādī/پیمان معادی
- PetroCinema in Iran: The Three Waves
- Petrocinema| سینما و صنعت نفت
- Pigāh Āhangarānī | Pegah Ahangarani | پگاه آهنگرانی
- Poetic Minimalism of Iranian Cinema: Pre-Revolution to New Wave
- Poetic Pictures: The Feminization of Iranian Cinema
- Postmodern Storytelling in Iranian Cinema: Shahram Mokri Films
- Post-Revolutionary Cinema
- Post-Revolutionary Masculinities
- Pouran Derakhshandeh/Pūrān Dirakhshandah/پوران درخشنده
- 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
Q
R
- Rakhshan Banietemad | Rakhshān Banī’iʿtimād | رخشان بنیاعتماد
- Rakhshan Banietemad’s Social Realism
- Rambod Javan/Rāmbud Javān/رامبد جوان
- Rasool Mollagholi Poor/Rasūl Mullāqulī’pūr/رسول ملاقلی پور
- 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
- Representation of Women in Rasoul Mollagholipour’s Cinema
- Reproducing Gender Stereotypes in Iranian Women’s Cinema: A Comparative Analysis of Three Decades
- Resistance and Compliance in The Salesman (2016)
- Revolutionary cinema | Sīnimā-yi Inqilābī | سینمای انقلابی
- Reza Kianian/Rezā Kīānīān/رضا کیانیان
- Reza Mirkarimi/Rizā Mīrkarīmī/رضا میرکریمی
- 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
- Sacred Defense Cinema: From Defense to Intervention
- Saeed Pursamimi/Saʿīd Pūrsamīmī/سعید پورصمیمی
- Sahar Dawlatshāhī | Sahar Dolatshahi | سحر دولتشاهی
- Samira Makhmalbaf | Samīrā Makhmalbāf | سمیرا مخملباف
- Samuel Khachikian | Sāmūʼil Khāchīkiyān | ساموئل خاچیکیان
- Sardar Sager
- Sartorial Islamic Baroque
- Screening Love: The Forbidden in Rakhshan Banietemad’s Narges (1992)
- Self-Reflexivity in Iranian New Wave Cinema
- Shahab Hoseyni/Shahāb Ḥoseynī/شهاب حسینی
- Shahed Ahmadloo/Shāhid Ahmadlū/شاهد احمدلو
- Shahlā Rīyāhī | Shahla Riahi | شهلا رياحي
- Shahram Mokri/Shahrām Mukrī/شهرام مکری
- Shahscoping Lahore: Elective Affinites in the Era of Regional Cooperation and Development
- Shapour Gharib/Shāpūr Qarīb/شاپور قریب
- Shattered Reflections: Mise en Abyme and the Deconstruction of Reality in Post-Revolutionary Iranian Cinema
- 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 | Shīrīn | شیرین
- Shirin | شیرین
- Shot in the Dark: Rakhshan Bani-Etemad’s Subversion of Patriarchally Constructed Femininity in The May Lady
- Shuhrah Āghdāshlū | Shohreh Aghdashloo | شهره آغداشلو
- Silent Cinema: A Global and Local Hybrid
- Sirus Alvand/Sīrūs Alvand/سیروس الوند
- 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 | Tahmīnah Mīlānī | تهمینه میلانی
- Tahmīnah Mīlānī’s The Hidden Half: The Art of Archetypes and Flashbacks
- 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
- Tehran in Iranian Post-Revolutionary Films
- Tehran’s Universal Studios
- The Aesthetic of Reality: The Poetry of Cinema in Muhammad Rizā Aslānī’s Films
- The Anthropological Unconscious of Iranian Ethnographic Films
- The Apple | Sīb | سیب
- The Buttressing Gaze: Neopatriarchal Unconscious and the Biopolitics of Female Visibility in Iranian Cinema
- The Cinematic and Cultural Legacy of Farokh Ghafari
- The Cinematic and Cultural Legacy of Farrokh Ghaffari
- The Cold War Story of US Government’s Documentary Diplomacy
- The Complex Legacy of Rūhangīz Sāmīnezhād in Iranian Cinema
- The Cow | Gāv | گاو
- The Crow | Kalāgh | کلاغ
- The Cycle of Violence as a Path to Justice in the Film Bī hamah chīz
- The cycle | Dāyarah-ʼi Mīnā | دایره مینا
- The Death of Sign; A Poetic Cinema of Mohammad Rezā Aslāni
- The Deer | Gavaznhā | گوزنها
- The Empathic Female Look: Resistance and Dialogue in the Patriarchal Spaces of Fīlmfārsī Melodrama
- The Fateful Day | Rūz-i vāq‛ah | روز واقعه
- The Gaze of Guilt and Shame: The (Re)presentation of Women in Contemporary Iranian Cinema
- The Heart-Brokens | Sūtah’dilān | سوته دلان
- The Hidden Half | Nīma-yiPinhān | نیمه پنهان
- The Horror Genre in Post-Revolutionary Iranian Cinema
- 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 , Guidance Patrol, and Semiotic Guerrilla Warfare: Subversion and Resistance in Iranian Cinema
- The Lost Love
- The Middle-Class Poor: Survival, Aspiration, and Identity in Iran
- The Morning of the Fourth Day: The Iranian New Wave and its À Bout de Souffle
- The Night It Rained | Ūn shab kih bārūn ūmad | اون شب که بارون اومد
- The Philosophical Poetry of Makhmalbaf: On Time of Love (1991) and Sex and Philosophy (2005)
- The Portrayal of Iranian Women Athletes and Fans in the Cinema
- The Role of National Identity in the Development of Fīlmfārsī
- The Runner
- The Runner | Davandeh | دونده
- The Salesman (2016), Gheirat, and Negotiations With The State
- The Seed of the Sacred Art: Mohammad Rasoulof’s Dreams for All
- The Soundscape in Diasporic Iranian Cinema
- The Swallows return to the nest | Parastūhā Bi Lāna bār mīgardand | پرستوها به لانه بر می گردند
- The Tenants | Ejāre-nešinhā | اجاره نشینها
- The Wind Will Carry Us | باد ما را خواهد برد
- The “Primitive Apparatus,” the Dramaturgical, and Hyperrealism in Abbas Kiarostami’s Digital Films
- Through the Olive Trees | Zīr-i Dirakhtān-i Zaytūn | زیر درختان زیتون
- Through the Olive Trees: Probing the Premise of ‘Reel’ Narrative in an Eco-poetic Film
- Towards A Micropolitics of Homo-eroticism In Shirin Neshat’s Women without Men
- Transcending Realities; The Poetic Evolution of Love in Daryoush Mehrjooyee’s Cinema (The Pear Tree and Dear Cousin Is Lost)
- Travelers | Musāfirān | مسافران
- 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
- Uvānis Uhāniyān: Director of the First Feature Film in Iran
W
Z
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- “Tooba” in Rakhshan Banietemad’s Cinema
- A Dragon Arrives! (2016)
- A Simple Event (1973)
- Certified Copy (2010)
- Close-Up (1990)
- Iran’s Cinema in Pursuit of Happiness: Part I (1951-1971)
- Marjān and The House is Black: First Two Films by Iranian Women Directors
- Maybe Some Other Time (1988)
- Seventeen Days to Execution (1956)
- Taste of Cherry (1997)
- The Abadanis (1993): A Historical Testimony, Silenced
- The Swallows Return to The Nest (1964)
- Travelers (1991)
- Ābādānīs | آبادانیها
- Āzītā Hājīyān | Azita Hajian | آزیتا حاجیان
- ʿAlī Nāṣirīān/ʿAlī Nāṣirīān/علی نصیریان
- “Drama” in Selected Iranian Cinema Posters: A study in Structuralist Narratology
- “Salaam Mumbai”: Pasts and Presents of Exchange and Collaboration Between Indian and Iranian Cinema
