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Alternative Iran
Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. While many of these venues operate independently, others are fully sanctioned by the state. Drawing on interviews with over a hundred artists, gallerists, theater exper...
Urban Heritage Planning in Tehran and Beyond
Despite the impact of ideological rigidity, the primary challenge of heritage planning in Tehran and beyond lies not in the dominance of an inflexible Authorized Heritage Discourse, but rather in the absence of stable spatial-discursive and administrative structures. Solmaz Yadollahi maps the historical trajectory of conservation and urban heritage planning in Iran, depicting a discursive-spatial assemblage that tends to knock down its accumulated resources. This is in line with Katouzian's portrayal of Iran as a pick-axe society. Residing within this society, the studied assemblage strives to deconstruct the prevailing structures and usher in a fresh one, paradoxically perpetuating the very cycle it seeks to escape.
Relaying Cinema in Midcentury Iran
"Relaying Cinema in Midcentury Iran investigates how the cultural translation of cinema has been shaped by the physical translation of its ephemera. Kaveh Askari examines film circulation and its effects on Iranian film cultures in the period before foreign studios established official distribution channels and before Iran became a notable site of so-called world cinema. This transcultural history draws on cross-archival comparison of films, distributor memos, licensing contracts, advertising schemes, and audio recordings. Askari meticulously tracks the fragile and sometimes forgotten material of film as it circulated through the Middle East into Iran and shows how this material was rerouted, reengineered, and reimagined in the process. "--
Neshat-isms
"A collection of quotations from the influential contemporary Iranian visual artist Shirin Neshat"--
The I.B. Tauris Handbook of Iranian Cinema
This volume brings together scholarship from both established scholars and early career academics to provide fresh insights and new research on the cinema of Iran. The book is organised around eight broad themes including cinema before and after the revolution, stylistic innovation, documentary, gender, and genre. Encompassing a diverse range of methodological approaches and disciplinary frameworks including film studies, cultural studies, and political economy, each chapter is a self-contained study on a specific topic engaging with the national and transnational history of Iranian cinema which combined provide readers with original new insights into Iranian film and filmmakers, from fictio...
The New Wave Cinema in Iran
The New Wave Cinema in Iran is a historical and analytical study of the Iranian New Wave Cinema (Mowj-e No) as an artistic and intellectual movement that came to its best early productions between 1958 and 1978. As the movement has a long history, Parviz Jahed focuses on the development and the early progression of the movement in the 1960s and explores its emergence and development in the context of the cultural and social conditions of Iran during this period. Jahed first defines the term 'New Wave' in Iran's film culture, in order to identify the root elements that gave traction to this movement. He analyses the degree to which different elements and factors have contributed to the formation of this cinema, accounting for the different approaches of Iranian intellectual filmmakers towards modernity and a modern form of cinema in Iran. The book finishes by studying the works of three intellectual figures and influential filmmakers of the 1960s, Ebrahim Golestan, Farrokh Ghaffari, and Feraydoon Rahnama, who are arguably considered the forerunners of the New Wave Cinema in Iran.
Jafar Panahi
Iranian filmmaker Jafar Panahi (b. 1960) is as famous for his remarkable films as for his courageous defiance of Iran’s state censorship. Panahi achieved international recognition with his feature film debut, The White Balloon, the first Iranian film to receive an award at the Cannes Film Festival. His subsequent films—The Mirror, The Circle, and Offside—continue to receive acclaim throughout the world, yet they remain largely unseen in his own country due to years of conflict with the Iranian government. In spite of multiple arrests, a brief imprisonment, and a ban on making movies and giving interviews, Panahi speaks openly and passionately in this unique, invaluable collection of tw...
Asghar Farhadi
The winner of two Academy Awards for Best Foreign Film in only five years, Asghar Farhadi (b. 1972) has become Iran’s most prominent director since the late Abbas Kiarostami. Around the world, especially in the international festival circuit, Farhadi is considered one of the great dramatist filmmakers of his generation. His reputation and influence in his home country is even greater, though also prone to misunderstandings, controversies, and divided critical reception. This volume offers a unique perspective into Farhadi's career in several key respects. Beginning with his work in television, the interviews collected here chart his rise from theater student to Iranian dramatist to celebra...
Directory of World Cinema: Iran 2
Working at the intersection of religion and ever-shifting political, economic and social environments, Iranian cinema has produced some of the most critically lauded films in the world today. The first volume in the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, New Wave, war film, art house film and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema and fans and aficionados of Iranian film. Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.
