Conflict and Development in Iranian Film by A. A. Seyed-Gohrab, Kamran Talattof

By A. A. Seyed-Gohrab, Kamran Talattof

The individuals to this well timed quantity discover the philosophical underpinnings and cinematic thoughts attribute of up to date Iranian movie. jointly, they reveal how the pervasive issues of Iranian cinema—such as martyrdom and struggle, conventional gender roles and their contemporary subversion, in addition to broader social coverage issues—have been addressed and the way numerous administrators, together with the acclaimed Abbas Kiarostami, have approached them utilizing numerous strategies. shooting the original poetic and mystical dimensions of Iranian cinema, those essays think of the results of the Islamic Revolution on cinema’s moral and aesthetic aspects. 

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Together, cinema affected the new generation. The uptown streets of Abbâsâbâd, Vozerâ, and Pahlavi in Tehran, the tree-lined Chahârbâgh in Isfahan, Zand Boulevard and Dâryush in Shirzâd, where some of these movie theaters were located, were also a locus for voyeurism: at that time (and even largely now) the only means for many to make eye contact with the opposite sex. 24 Shahrzâd experienced theater early on in her career. Shahlâ Riyâhi (b. 1926) entered the theater and cinema through her husband, who was already active in both arts.

Life changes for these lovers and many people around them. Issues related to sex problematize the man’s identity and, by extension, Iranian men’s identity. When Dâsh Gholâm takes Pari on a pilgrimage, he uses religion’s power to reestablish control over the woman’s body but also answers Iranian men’s vexing question about identity: we are believers and we forgive a woman’s straying body by giving her a chance to redeem herself. When Pari “fails to come clean,” Dash Gholâm goes back to his wife, who now is apparently ready to perform better in bed.

Inside a dark cave used for keeping animals, Behzâd has a conversation with a young girl who is milking the cow to fill his bucket. She has a single lantern. and ends with the verse quoted by Behzâd. Strikingly, the scene is again a filmic representation of the poem (as when the child appears to guide the wandering Landrover). It is not totally clear what Behzâd’s motives are here. After a brief conversation with the girl, in which he extracts very little information from her but ascertains that she has never heard of Forugh Farrokhzâd, he proceeds to recite the poem after which the film is named.

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