Reassesses the post-revolutionary Iranian Cinema from a new mnemo-political perspectiveEstablishes a new framework of understanding the tensions between hegemonial and excluded aesthetics and rhetorics, between censorship and resistance, carving out...
more
Reassesses the post-revolutionary Iranian Cinema from a new mnemo-political perspectiveEstablishes a new framework of understanding the tensions between hegemonial and excluded aesthetics and rhetorics, between censorship and resistance, carving out resistant points of remembering within and outside state-controlled cinemaExposes silenced experiences and suppressed struggles that nevertheless articulate themselves in cinematic formsLooks for ruptures, frictions and sudden re-distributions within the trauma- and memoryscapes of Iranian CinemaIntroduces new readings of Iranian films and thus suggest a theory of trauma and memory inspired by cinematic procedures and orientated towards specific materialsFarīd ad-Dīn-e ʿAṭṭār's Persian folk tale The Conference of the Birds relates the quest by thousands of pilgrim birds for an ideal king, the mythical bird called Sīmorgh. At the end of the quest, the surviving birds recognise that the longed-for king is nothing other than the reflection of their own existence. But what about those other birds that were not able to become part of the final representation? This groundbreaking book calls them 'counter-memories'; memories that are barred from hegemonic history, but are, nevertheless present in cinematic forms. Due to the strategic and artistic interventions of a range of Iranian filmmakers, such as Abbas Kiarostami and Shahram Mokri, Ali Hatami and Tahmineh Milani, Kianoush Ayari and Rakshan Banietemad, the history of post-revolutionary Iranian Cinema is also structured by counter-memories, with the potential to destabilise officially fabricated success stories of revolution, war and sacred defence. Counter-Memories in Iranian Cinema establishes a new framework for understanding the tensions between censorship and resistance, helping to carve out resistant points of remembering both within and outside state-controlled cinema.
Reassesses the post-revolutionary Iranian Cinema from a new mnemo-political perspectiveEstablishes a new framework of understanding the tensions between hegemonial and excluded aesthetics and rhetorics, between censorship and resistance, carving out...
more
Reassesses the post-revolutionary Iranian Cinema from a new mnemo-political perspectiveEstablishes a new framework of understanding the tensions between hegemonial and excluded aesthetics and rhetorics, between censorship and resistance, carving out resistant points of remembering within and outside state-controlled cinemaExposes silenced experiences and suppressed struggles that nevertheless articulate themselves in cinematic formsLooks for ruptures, frictions and sudden re-distributions within the trauma- and memoryscapes of Iranian CinemaIntroduces new readings of Iranian films and thus suggest a theory of trauma and memory inspired by cinematic procedures and orientated towards specific materialsFarīd ad-Dīn-e ʿAṭṭār's Persian folk tale The Conference of the Birds relates the quest by thousands of pilgrim birds for an ideal king, the mythical bird called Sīmorgh. At the end of the quest, the surviving birds recognise that the longed-for king is nothing other than the reflection of their own existence. But what about those other birds that were not able to become part of the final representation? This groundbreaking book calls them 'counter-memories'; memories that are barred from hegemonic history, but are, nevertheless present in cinematic forms. Due to the strategic and artistic interventions of a range of Iranian filmmakers, such as Abbas Kiarostami and Shahram Mokri, Ali Hatami and Tahmineh Milani, Kianoush Ayari and Rakshan Banietemad, the history of post-revolutionary Iranian Cinema is also structured by counter-memories, with the potential to destabilise officially fabricated success stories of revolution, war and sacred defence. Counter-Memories in Iranian Cinema establishes a new framework for understanding the tensions between censorship and resistance, helping to carve out resistant points of remembering both within and outside state-controlled cinema.
