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.
Throughout this book, allegory is considered both a mode of expression and a mode ... 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.
26 Negar Mottahedeh, Displaced Allegories: Post-Revolutionary Iranian Cinema (London and Durham, NC: Duke University Press, 2008), 3.
Author: Peter Decherney
Iranian films have been the subject of much critical and scholarly attention over the past several decades, and Iranian filmmakers are mainstays of international film festivals. Yet most of the attention has been focused on a small segment of Iranian film production: auteurist art cinema. Iranian Cinema in a Global Context, on the other hand, takes account of the wide range of Iranian cinema, from popular youth films to low budget underground films. The volume also reassesses the global circulation of Iranian art cinema, looking at its reception at international festivals, in university curricula, and at the Academy Awards. A final theme of the volume explores the intersection between politics and film, with essays on post-Khatami reform influences, representations of ineffective drug policies, and the representation of Jewish characters in Iranian film. Taken together, the essays in this volume present a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.
Mottahedeh provides unparalleled analyses of the scene in her fascinating Displaced Allegories (see 91–6, 128–30). 28. Dabashi, Close Up, 253. 29.
Author: Mathew Abbott
Publisher: Edinburgh University Press
A deflationary, anti-theoretical film-philosophy through the cinema of Abbas KiarostamiMathew Abbott presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostamis films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work.Crossing the divide between analytic and continental philosophy, he draws on Ludwig Wittgenstein, Stanley Cavell, John McDowell, Alice Crary, NoAl Carroll, Giorgio Agamben, and Martin Heidegger, bringing out the thinking at work in Kiarostamis most recent films: Taste of Cherry, The Wind Will Carry Us, ABC Africa, Ten, Five, Shirin, Certified Copy and Like Someone in Love.
Postmodernist fiction has thus developed a range of narrative strategies for displacing the nuclear. According to McHale, three narrative strategies in ...
Author: Lidia Yuknavitch
Allegories of Violence demilitarizes the concept of war and asks what would happen if we understood war as discursive via late 20th Century novels of war.
67 Negar Mottahedeh, Displaced Allegories: Post-Revolutionary Iranian Cinema (Durham & London: Duke University Press, 2008). 68 Ibid., pp. 8–10.
Author: Pedram Dibazar
Publisher: Bloomsbury Publishing
In Urban and Visual Culture in Contemporary Iran, Pedram Dibazar argues that everyday life in Iran is a rich domain of social existence and cultural production. Regular patterns of day-to-day practice in Iran are imbued with forms of expressivity that are unmarked and inconspicuous, but have remarkable critical value for a cultural study of contemporary society. Blended into the rhythms of everyday life are nonconformist modes of presence, subtle in their visibility and non-confrontational in their resistance to the established societal norms and structures. This volume is about such everyday tactics and creativity as lived in space, visualised in cultural forms and communicated through media. Through its analysis of familiar everyday experiences, Urban and Visual Culture in Contemporary Iran covers a wide range of ordinary practices-such as walking, driving, shopping and doing or watching sports-and spatial conditions-such as streets, cars, rooftops, shopping centres and stadiums. It also explores a variety of cultural formations, including film, photography, architecture, literature, visual arts, television and digital media. This book offers new ways of thinking about visual and urban cultures by highlighting a politics of everyday life that is conditioned on concerns over visibility and presence.
After Wagner, at the very latest, suicide has completely displaced apotheosis, as the classical mimetic tradition has displaced allegory.
Author: Jane K. Brown
Publisher: University of Pennsylvania Press
In an impressively comparative work, Jane K. Brown explores the tension in European drama between allegory and neoclassicism from the sixteenth through the nineteenth century. Imitation of nature is generally thought to triumph over religious allegory in the Elizabethan and French classical theater, a shift attributable to the recovery of Aristotle's Poetics in the Renaissance. But if Aristotle's terminology was rapidly assimilated, Brown demonstrates that change in dramatic practice took place only gradually and partially and that allegory was never fully cast off the stage. The book traces a complex history of neoclassicism in which new allegorical forms flourish and older ones are constantly revitalized. Brown reveals the allegorical survivals in the works of such major figures as Shakespeare, Calderón, Racine, Vondel, Metastasio, Goethe, and Wagner and reads tragedy, comedy, masque, opera, and school drama together rather than as separate developments. Throughout, she draws illuminating parallels to modes of representation in the visual arts. A work of broad interest to scholars, teachers, and students of theatrical form, The Persistence of Allegory presents a fundamental rethinking of the history of European drama.
The pattern here is one of allegorical displacement, people by buildings, ... de Guzman— is displaced by Jacques, St. Jacques de Vitry, Spain by France.
Author: Michael Scrivener
Publisher: Penn State Press
The multifaceted career of John Thelwall (1764-1834)&—poet, novelist, playwright, journalist, politician, scientist&—is the lens through which we are offered here a new look at the phenomenon of British Jacobinism, long distorted by the critical view of it as intellectually weak bequeathed to us by Coleridge and Wordsworth, once Jacobins themselves. This book, the first on Thelwall in almost one hundred years, combines literary analysis and historical description to show how this innovative political activist remained true to his radicalism while adapting his methods in the face of the anti-Jacobin reaction that Paine's The Rights of Man helped set off. The three parts of the book set Thelwall's achievements and challenges in the political and literary context of his times. Part One, &"Jacobin(s) Writing,&" focuses on the most essential aspects, ideologically and formally, of the insurgent writing of the 1790s to which Thelwall contributed. Part Two, &"The Voice of the People,&" treats both Thelwall's radical oratory and journalism, as well as his writings and activities as a natural scientist and rhetorician, a professor and technician of &"elocution.&" Part Three, &"Jacobin Allegory,&" expounds on Thelwall's characteristic strategy of indirect expression through synecdoche and allegory, which he used in his later career after repression forced him out of politics. Through Thelwall's life Michael Scrivener succeeds in revealing how British Jacobinism reshaped the public sphere, initiating numerous literary experiments with oratory, pamphlets, periodicals, popularizations, and songs in the spaces opened up by political associations, lectures, meetings, and trials. Jacobinism thus altered the very institutions of reading and writing by expanding literacy, restructuring the popular arena for reading, and generating a body of diverse texts that were &"seditious allegories.&"
The notion that interpretive allegory is gradually displaced appears also in the current generation , and the rival notion that allegory is continually ...
Author: Jon Whitman
This major investigation of the theory and practice of interpretation is unparalleled in design. Concentrating on interpretive allegory, its interdisciplinary approach simultaneously opens and organizes new perspectives on historic developments - from pagan, Jewish, Christian, and Islamic commentaries to postmodern critiques. "Interpretation and Allegory: Antiquity to the Modern Period" is the recipient of The Polonsky Foundation 2001 Award for Contributions to Interdisciplinary Study in the Humanities. This publication has also been published in paperback, please click here for details.
See, for instance, Michelle Langford, 'Allegory and the Aesthetics of ... Displaced Allegories: Post-Revolutionary Iranian Cinema (Duke University Press, ...
Author: Maziyar Ghiabi
Publisher: Cambridge University Press
Iran has one of the world's highest rates of drug addiction: estimated to be between 2 and 7 percent of the entire population. This makes the questions that this book asks all the more salient: what is the place of illegal substances in the politics of modern Iran? How have drugs affected the formation of the Iranian state and its power dynamics? And how have governmental attempts at controlling and regulating illicit drugs affected drug consumption and addiction? By answering these questions, Maziyar Ghiabi suggests that the Islamic Republic of Iran's image as an inherently conservative state is not only misplaced and inaccurate, but in part a myth. In order to dispel this myth, he skilfully combines ethnographic narratives from drug users, vivid field observations from 'under the bridge', with archival material from the pre- and post-revolutionary era, statistics on drug arrests and interviews with public officials. This title is also available as Open Access on Cambridge Core.
For a discussion of the use of allegory in Iranian cinema, see Negar Mottahedeh, Displaced Allegories: Post-Revolutionary Iranian Cinema (Durham: Duke ...
Author: David M. Faris
Publisher: SUNY Press
First comprehensive account of how the Internet has impacted life in Iran. Social Media in Iran is the first book to tell the complex story of how and why the Iranian people—including women, homosexuals, dissidents, artists, and even state actors—use social media technology, and in doing so create a contentious environment wherein new identities and realities are constructed. Drawing together emerging and established scholars in communication, culture, and media studies, this volume considers the role of social media in Iranian society, particularly the time during and after the controversial 2009 presidential election, a watershed moment in the postrevolutionary history of Iran. While regional specialists may find studies on specific themes useful, the aim of this volume is to provide broad narratives of actor-based conceptions of media technology, an approach that focuses on the experiential and social networking processes of digital practices in the information era extended beyond cultural specificities. Students and scholars of regional and media studies will find this volume rich with empirical and theoretical insights on the subject of how technologies shape political and everyday life.
Filled with veiled references and allegories, Rizal's novels were—even in the ... The melodramas of the horrible mother are thus displaced allegories.
Author: José B. Capino
Publisher: Univ 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.
In addition to goodwill features and “displaced” allegories of persecution, the programs of the 1960s included celebrations of German rescue e¤orts, ...
Author: Wulf Kansteiner
Publisher: Ohio University Press
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 the German case has been studied 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 a key role in the reinvention of the Nazi past in the past sixty years. Wulf Kansteiner shows that the interpretations of the past proposed by historians, politicians, and television makers reflect political and generational divisions and an extraordinary concern for Germany's perception abroad. At the same time, each of these theaters of memory has developed different dynamics and formats of historical reflection. Kansteiner's interrelated essays offer a comparative analysis of the German scene that reveals a complex and contradictory social geography of collective memory. In Pursuit of German Memory underscores the truth that, while all memory may be local, German memories of Nazism are highly mediated and part of a global exchange of images and story fragments. Wulf Kansteiner is an assistant professor of history and director of graduate studies at the State University of New York at Binghampton.
Displaced Allegories: Post-revolutionary Iranian Cinema. Durham, NC: Duke University Press, 2009. Pak-Shiraz, Nacim. 'Exploring the City in the Cinema of ...
Author: Ayşegül Akçay Kavakolu
Publisher: Intellect Books
Analysing a variety of international films and, ultimately, placing them in dialogue with video art, photographic narratives and emerging digital image-based technologies, the contributions explore the expanding range of ‘mediated’ narratives of contemporary architecture and urban culture from both a media and a sociological standpoint. Each chapter presents an interesting critical approach to the diversity of topics with clear explanation of the contextual framework and methodology, and a consistent depth of analysis. In the three sections of the book, authors underline the continual role of film and media in creating moving image narratives of the city, identifying how it creates cinematic – and ever more frequently digital – topographies of contemporary urban culture and architecture, re-presenting familiar cities, modes of seeing, cultures and social questions in unfamiliar ways. This filmic emphasis is placed into dialogue with a more diverse range of related visual media, which illustrates the overlaps between them and reveals how moving image technologies create unique visual topographies of contemporary urban culture and architecture. In making this shift from the filmic to the new age of digital image making and alternative modes of image consumption, the book not only reveals new techniques of representation, mediation and the augmentation of sensorial reality for city dwellers; its emphasis on ‘narrative’ offers insights into critical societal issues. These include cultural identity, diversity, memory and spatial politics, as they are both informed by and represented in various media. The focus for the book is on how films can produce mediation of urban life and culture by connecting the notions of identity, diversity and memory. Both the subject and the approach are gaining in popularity in recent years. This book's main feature is its dual perspective, involving both practical and theoretical stances – and it is this approach that makes it a particularly relevant and original contribution. Primary readership will be academics, scholars, undergraduate and postgraduate students and practitioners interested in architecture and media in general, film, moving images, urban studies in particular. Also of relevance to sociologists and those interested in cultural theory. The inclusion of chapters on urban photography and art installations may also be of interest to students and designers in these areas.
That is why they wanted revenge : they felt displaced 35 Angela's recollection of the murder is saturated with ambiguous syntax and suggestive imagery .
Author: Sharon G. Feldman
Publisher: Bucknell University Press
Allegories of Dissent, the first book devoted to the literature of Agustin Gomez-Arcos, is a case study of the relationship between art and oppression. It positions his theater in relation to the historical trajectories of twentieth-century Spanish and European drama, and in so doing, traces the allegorical strategies and thematic transformations that emerge in his work during the course of his radical move from censored artist to bilingual exile. Gomez-Arcos's threefold experience with censorship, exile, and bilingualism has left a lasting imprint on his literary production. As he embarks on an artistic journey from censored playwright living in dictatorial Spain to bilingual exile writer residing in democratic France, his gradual employment of the French language comes to allegorize his quest for freedom of expression.
... in 14 On the allegorical 'method' of post-revolutionary Iranian cinema see Negar Mottahedeh, Displaced Allegories: Post-revolutionary Iranian Cinema, ...
Author: Arshin Adib-Moghaddam
Publisher: Cambridge University Press
What is Iran? What are its domestic politics? Its history? Its international relations? Here, Arshin Adib-Moghaddam sheds fresh light on these questions, offering a general introduction to everything there is to know about this country. Uniquely, he uses musical pieces as a way to offer a holistic understanding of the full spectrum of Iranian affairs. As a result, even the general reader is invited to traverse a wide array of topics in an interactive format which merges approaches from the social sciences with philosophy, poetry and art. These topics include a variety of themes, issues and personalities: from Trump, Khomeini, the Shah, Saddam Hussein and Qasem Soleimani, to Israel, Syria, Latin America, China and the Gulf monarchies. Ultimately, this book demonstrates in clear and accessible prose the impact of Iranian politics on a global scale, and offers solutions to the various crises enveloping the country in the region and beyond.
... terms of mimetic social realism, and in more allegorical terms, as well. ... in iranian cinema studies, Negar mottahedeh's Displaced Allegories (2008) ...
This volume unpacks the representations, motivations, agendas, and projects by focusing on the advances in scholarly research on women and Islamic cultures in the first decade of the 21st century.
... Modernism,” Modernism/Modernity 6(2) (1999): 61. 13 14 17 Negar Mottahedeh, Displaced Allegories: Post-Revolutionary Iranian Cinema 288 Conclusion.
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.
... and allegory to reflect political content was to be seen as a hallmark of Iranian cinema, as Langford, among others, has written (Displaced Allegories).
Author: Anne Demy-Geroe
This book examines transformations in the production and domestic and international reception of Iranian cinema between 2000 and 2013 through the intersection of the political markers – the presidential terms of Reformist president Mohammad Khatami and his successor, the conservative Mahmoud Ahmadinejad – and filmic markers, particularly Jafar Panahi’s The Circle (2000) and Asghar Farhadi’s About Elly (2009). Through extensive field and media research, the book considers the interaction of a range of factors including government policy, Iranian national cinema genres and categories, intended audience, funding source, and domestic and international reception, to demonstrate the interplay between filmmakers and the government over these two successive presidencies. While the impact of politics on Iranian filmmaking has been widely examined, this work argues for a more nuanced understanding of politics in and of the Iranian cinema than has generally been previously acknowledged. Drawing on both personal experience as a juror at the Fajr International Film festival and interviews with significant filmmakers, producers, actors and other industry insiders, including senior bureaucrats and politicians, the volume is a key resource for anyone interested in politics and Iranian cinema.
... historically] served as one of the principal displacement mechanisms in a ... the films act as displaced allegories for a failed war and administration ...
Author: Timothy Corrigan
Publisher: Rutgers University Press
The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies. Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.