Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’i, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post ...
Author: Negar Mottahedeh
Publisher: Duke University Press
Following the 1979 Iranian Revolution, Iran’s film industry, in conforming to the Islamic Republic’s system of modesty, had to ensure that women on-screen were veiled from the view of men. This prevented Iranian filmmakers from making use of the desiring gaze, a staple cinematic system of looking. In Displaced Allegories Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found creative ground not in the negation of government regulations but in the camera’s adoption of the modest, averted gaze. In the process, the filmic techniques and cinematic technologies were gendered as feminine and the national cinema was produced as a woman’s cinema. Mottahedeh asserts that, in response to the prohibitions against the desiring look, a new narrative cinema emerged as the displaced allegory of the constraints on the post-Revolutionary Iranian film industry. Allegorical commentary was not developed in the explicit content of cinematic narratives but through formal innovations. Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’i, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post-Revolutionary Iranian films. She insists that such analyses of cinema’s visual codes and conventions are crucial to the study of international film. As Mottahedeh points out, the discipline of film studies has traditionally seen film as a medium that communicates globally because of its dependence on a (Hollywood) visual language assumed to be universal and legible across national boundaries. Displaced Allegories demonstrates that visual language is not necessarily universal; it is sometimes deeply informed by national culture and politics.
Filled with veiled references and allegories, Rizal's novels were—even in the
1970s—the most influential and accessible tradition of Philippine sociopolitical ...
The melodramas of the horrible mother are thus displaced allegories. They play ...
Author: José B. Capino
Publisher: University of California Press
Lino Brocka (1939–1991) was one of Asia and the Global South’s most celebrated filmmakers. A versatile talent, he was at once a bankable director of genre movies, an internationally acclaimed auteur of social films, a pioneer of queer cinema, and an outspoken critic of Ferdinand Marcos’s autocratic regime. José B. Capino examines the figuration of politics in the Filipino director’s movies, illuminating their historical contexts, allegorical tropes, and social critiques. Combining eye-opening archival research with fresh interpretations of over fifteen of Brocka’s major and minor works, Martial Law Melodrama does more than reveal the breadth of his political vision. It also offers a timely lesson about popular cinema’s vital role in the struggle for democracy.
... field of Iranian cinema, Middle-Eastern cosmopolitanism and historiography of
modern Iran and early cinema. 17 Negar Mottahedeh, Displaced Allegories: Post
-Revolutionary Iranian Cinema (Durham, NC: Duke University Press, 2008), 2.
Author: Golbarg Rekabtalaei
Publisher: Cambridge University Press
From popular and 'New Wave' pre-revolutionary films of Fereydoon Goleh and Abbas Kiarostami to post-revolutionary films of Mohsen Makhmalbaf, the Iranian cinema has produced a range of films and directors that have garnered international fame and earned a global following. Golbarg Rekabtalaei takes a unique look at Iranian cosmopolitanism and how it transformed in the Iranian imagination through the cinematic lens. By examining the development of Iranian cinema from the early twentieth century to the revolution, Rekabtalaei locates discussions of modernity in Iranian cinema as rooted within local experiences, rather than being primarily concerned with Western ideals or industrialisation. Her research further illustrates how the ethnic, linguistic, and religious diversity of Iran's citizenry shaped a heterogeneous culture and a cosmopolitan cinema that was part and parcel of Iran's experience of modernity. In turn, this cosmopolitanism fed into an assertion of sovereignty and national identity in a modernising Iran in the decades leading up to the revolution.
Displaced Allegories: Post-Revolutionary Iranian Cinema. Durham, NC: Duke
University Press, 2008. ———. Representing the Unrepresentable: Historical
Images of National Reform from the Qajars to the Islamic Republic of Iran.
Author: Terri Ginsberg
Publisher: Rowman & Littlefield Publishers
"This second edition of Historical Dictionary of Middle Eastern Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on individual films, filmmakers, actors, significant historical figures, events, and concepts, and the countries themselves"--
In addition to goodwill features and displaced ” allegories of persecution , the
programs of the 1960s included celebrations of German rescue efforts ,
especially those undertaken by members of the German clergy . 18 The
programs hardly ...
Author: Associate Professor of History Wulf Kansteiner
The collective memories of Nazism that developed in postwar Germany have helped define a new paradigm of memory politics. From Europe to South Africa and from Latin America to Iraq, scholars have studied the German case to learn how to overcome internal division and regain international recognition. In Pursuit of German Memory: History, Television, and Politics after Auschwitz examines three arenas of German memory politics--professional historiography, national politics, and national public television--that have played key roles in the reinvention of the Nazi past in the last sixty years. Wulf Kansteiner shows that the interpretations of the past proposed by historians, politicians, and television producers reflect political and generational divisions and an extraordinary concern for Germany's image abroad. At the same time, each of these theaters of memory has developed its own dynamics and formats of historical reflection. Kansteiner's analysis of the German scene reveals a complex social geography of collective memory. In Pursuit of German Memory underscores the fact that German memories of Nazism, like many other collective memories, combine two seemingly contradictory qualities: They are highly mediated and part of a global exchange of images and story fragments but, at the same time, they can be reproduced only locally, in narrowly circumscribed networks of communication.
Throughout this book, allegory is considered both a mode of expression and a
mode of interpretation. ... authoritarian rules'.3 However, Negar Mottahedeh has
offered a slightly different perspective in her theorization of 'displaced allegories'.
Author: Michelle Langford
Publisher: Bloomsbury Publishing
Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, allegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts - developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack - to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in Iranian Cinema explains how a centuries-old means of expression, interpretation, encoding and decoding becomes, in the hands of Iran's most skilled cineastes, a powerful tool with which to critique and challenge social and cultural norms.
... a yellow jacket slashed with pink and blue , had displaced his sober sailor ' s
coat of grey , while on his head , a cap with jingling bells and waving green
feathers , put to shame the real shrewd sense which shone out of the eyes
beneath it .
A series of allegories intended for Victorian children, using the model of the 'Fortunate Isles' from Greek mythology. Each chapter includes a detailed series of questions and answers based around the text, explaining the allegorical meaning of various events and characters in Christian religious terms. The child protagonists Ernest, Felix, and Victor eventually succeed in steering their respective ships to a promised land equated with Heaven. The Preface suggests this anonymous work was written by a woman, likely a governess or Sunday-school teacher, who speaking in the third-person professes that "for her book, she can have no higher ambition than that the sisterhood of governesses may deem it not wholly unworthy of being read and explained by them, to the little ones commited to their care."
positions or the displacement of a ruler . As Keti Ferenke Koroma suggests in N .
19 , the narratives thus emphasize the priority of the firstborn and of the senior
wife , and stress the undeniable importance of the primary bond between a
Author: Michael Jackson
Publisher: African Systems of Thought
" --Research in African LiteraturesPoet and anthropologist Michael Jackson brings to this study of the folktales of the Kuranko people of Sierra Leone a sensitivity to the philosophical nuances of literature.
... other hand bizarre displacement or intrusion , which links them into a coherent
aesthetic scheme . What we have in the Sin - Death episodes is merely an
intensification of oblique allusion or symbolic figure into declared allegory -
marked by ...
Author: Mindele Anne Treip
In particular, she traces the evolving theories on allegory and the epic of Torquato Tasso through a wide spectrum of his major discourses, shorter trace and letters, giving full translations.
As a mechanical medium which radically transformed and displaced earlier
artisanal and manual modes of visual representation , photography is implicated
in a sustained crisis at the very center of bourgeois culture , a crisis rooted in the
Author: Laurie Anderson
Publisher: Mit Press
Blasted Allegories is the first comprehensive collection of writing by contemporary artists, making available the best and most representative examples from the past ten years, an era marked by such pluralism and eclecticism that the voice of the artist may be the clearest one to listen to.
The bodily surface can be altered to reveal the logos within ; the signifier can be
displaced to demonstrate the living spirit of the transcendental signified informing
it . Christians have access to the signified without passing through the defiles of ...
Author: John P. Hermann
Explores the intersection of spirituality and violence in Old English poetry using contemporary approaches