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 fiction films to art house and popular cinema. The Handbook includes analysis of the works of established filmmakers such as Bahram Beyzaie, Rakhshan Banetemad, Abbas Kiarostami and Mohsen Makhmalbaf, as well as the output of emerging voices such as Ida Panahandeh and Shahram Mokri. Covering well-known topics as well as cutting edge ones such the sonic and visual manifestations of the urban environment in Iranian films, this book is a vital resource for understanding Iran and its unique cinematic culture.

Préface

A state-of-the-art overview of new research in Iranian cinema, covering documentary, fiction art house and popular films and filmmakers, from a range of interdisciplinary approaches.

Auteur
Michelle Langford is Associate Professor of film studies at the University of New South Wales, Australia. She has published extensively on the cinemas of Iran and Germany and is the author of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance (Bloomsbury, 2019). Maryam Ghorbankarimi is Assistant Professor in film studies at Lancaster University, UK. She is the author of A Colourful Presence: The Evolution of Women's Representation in Iranian Cinema (2015) and the editor of ReFocus: The Works of Rakhshan Banietemad (2021).Zahra Khosroshahi is Assistant Professor in film and television studies at the University of Glasgow, UK. She is currently working on her forthcoming book on Iranian women's filmmaking.

Contenu
List of Figures
Notes on Contributors
Acknowledgement
A Note on Transliteration and Style

Part I: Introduction

Chapter 1: Once Upon A Time in Iran by Michelle Langford, Maryam Ghorbankarimi, and Zahra Khosroshahi

Part II: Production, Circulation and Reception of Iranian Cinema

Chapter 2: The Commercial Film Industry in the Islamic Revolution: Revisiting Narratives of Crisis and Collapse by Pedram Partovi (American University)

Chapter 3: Cinema and Circulation in Iran: Continuities and Ruptures by Blake Atwood (American University of Beirut) and Mahsa Salamati (University of Sydney)

Chapter 4: Making Stars in the Sky of Iranian Cinema Film Magazines and the Stars of Early Popular Cinema in Iran by Golbarg Rekabtalaei (Seton Hall University)

Chapter 5: A Brief History of Film Criticism in Iran by Mohsen Azarm (Independent Researcher) and Hossein Eidizadeh (Independent Researcher)

Chapter 6: Iranian Cinema and its French Audience by Asal Bagheri (CY Cergy Paris Université)

Part III: Rethinking Genre

Chapter 7: Shocking Exchange: The Iranian Horror Film by Max Bledstein (University of New South Wales)

Chapter 8: The War Must Go On: The Three Phases of Iranian Sacred Defence Cinema by Kaveh Abbasian (Kaveh Abbasian)

Chapter 9: Mirrors of Childhood: Adaptation and Social Critique in Post-Revolutionary Iranian Child-Centred Cinema by Mazda Moradabbasi Fouladi (University of New South Wales)

Chapter 10: Just 6.5: A New Modulation on the Social Issues Film by Anne Demy Geroe (Independent Researcher)

Chapter 11: Tales of a City's Evolution: Tehran in Iranian Pre-revolution Cinema by Hamed Goharipour (The College of Wooster)

Part IV: Transnational Exchange

Chapter 12: Filmfarsi's transnational inception: techno-cultural exchanges with India and Egypt by Farshad Zahedi (Universidad Carlos III de Madrid)

Chapter 13: Elusive Home, Elusive Time: What's the Time in Your World? By Nasrin Rahimieh (UC Irvine)

Chapter 14: Shirin Neshat and Larissa Sansour: Transnational Stars, (Trans)regional Constellation by Lindsey Moore (Lancaster University)

Chapter 15: Iranian Afghan cinema: towards a poetics of love and migration by Nina Khamsy (The Graduate Institute of International and Development Studies)

Part V: Aesthetics of looking and listening

Chapter 16: The Look at the Camera in Iranian Cinema before and after 1979: a Tropological Atlas by Matthias Wittmann (Johannes Gutenberg University Mainz)

Chapter 17: Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures by Laudan Nooshin (City, University of London) and Kamyar Salavati (University of Exeter)

Chapater 18: Silence and the Temporality of the Everyday: The Cinematic Modernism of Marva Nabili's The Sealed Soil (1978) by Rosa Holman (Independent Researcher) and Michelle Langford (University of New South Wales)

Chapter 19: The Speaking Tree: The Mytho-poetics of The Female Voice in Bahram Beyzaie's Cinema by Farshid Kazemi (Simon Fraser University)

Part VI: Visionary Women Filmmakers

Chapter 20: Gendering Documentary Film Industry in Iran: Independent Women Documentarians and Adaptive Strategies of Production by Najmeh Moradiyan-Rizi (Old Dominion University)

Chapter 21: Women with Fighting Spirits: Transnational Documentaries by Kim Longinotto and Ziba Mir-Hosseini by Tania Ahmadi (Columbia University)

Chapter 22: Transcending Stereotypes: Negotiating Motherhood in Rakhshan Banietemad's Cinema by Zahra Khosroshahi (Glasgow University)

Chapter 23: Redefining 'Taboos': A feminist Reading of Ida Panahandeh's Titi (2020) by Maryam Ghorbankarmi (Lancaster University)

Filmography
Bibliography