Iranian cinema art, society and the state

Middle East Report

Volumn 31, Issue 219, 2001, Pages 26-29

  Mir Hosseini, Ziba ^a  

^a UNIVERSITY OF LONDON   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0007455881     PISSN: 08992851     EISSN: None     Source Type: Journal    
DOI: 10.2307/1559252     Document Type: Article

References (17)

1. Sussan Siavoshi, "Cultural Policies and the Islamic Republic Cinema and Book Publication," International Journal of Middle East Studies 29 (1997), p. 509.
2. Peter Chelkowski, ed., Ta'ziyeh: Ritual and Drama in Iran (New York: New York University Press, 1979).
3. Afsaneh Najmabadi, "Reading for Gender through Qajar Paintings," in Layla Diba, ed., Royal Persian Paintings: The Qajar Epoch, 1785-1925 (London: I. B. Tauris, 1999).
4. The first Iranian talkie, The Lur Girl (Ardeshir Irani, 1933), was a love story with a woman in the leading role.
5. The Committee's task was to Islamize universities, which basically meant purging teachers and students who did not conform to the state's ideology. In an interview, Abdolkarim Soroush has openly talked about the early activities of this committee, and the disputes and confusion in its ideology. The interview is posted at: http://www.seraj.org/far1.htm and http:// www.seraj.org/cultural.htm.
6. Amir Naderi's The Runner was an isolated case.
7. See Houshang Golmakani, "A History of the Post-Revolutionary Iranian Cinema," Chicago Film Center's 10th Annual Festival of Films from Iran (1999), http://www.webmemo.com/iran/articleview_2.cfm.
8. Hamid Naficy, "Veiled Vision/Powerful Presences: Women in Post-Revolutionary Iranian Cinema," in Mahnaz Afkhami and Erika Friedl, eds., In the Eye of Storm: Women in Post-Revolutionary Iran (Syracuse, NY: Syracuse University Press, 1994).
9. The best-known instances include Amir Naderi's The Runner (1984),
10. Bahram Beyzai's Bashu: The Little Stranger (1985)
11. Abbas Kiarostami's Where Is the Friend's House (1987).
12. The title of one of his many books. See Ziba Mir-Hosseini, Islam and Gender: The Religious Debate in Contemporary Iran (Princeton, NJ: Princeton University Press, 1999), ch. 7.
13. See Lloyd Ridgeon, Makhmalbaf's Broken Mirror: The Socio-Political Significance of Modern Iranian Cinema (Durham Middle East Paper No. 64, 2000);
14. Hamid Dabashi, "Dead Certainties: The Early Makhmalbaf," in Richard Tapper, ed., The New Iranian Cinema: Politics, Representation and Identity (London: I. B. Tauris, forthcoming).
15. For a discussion, see Siavoshi, pp. 516-19.
16. See Naficy, op cit., and Sheila Whitaker, "Rakhshan Bani-Etemad," in Rose Issa and Sheila Whitaker, eds., Life and Art: The New Iranian Cinema (London: National Film Theatre, 1999).
17. Hamid Naficy, "Islamicizing Film Culture in Iran - A Post-Khatami Update," in Tapper, op cit.