About this product

Product Identifiers

PublisherOxford University Press, Incorporated

ISBN-101474479758

ISBN-139781474479752

eBay Product ID (ePID)24050088989

Product Key Features

Number of Pages272 Pages

Publication NameCounter-Memories in Iranian Cinema

LanguageEnglish

Publication Year2021

SubjectFilm / Reference, Film / Direction & Production, Film / History & Criticism

TypeTextbook

AuthorUte Holl

Subject AreaPerforming Arts

FormatHardcover

Dimensions

Item Length9.2 in

Item Width6.1 in

Additional Product Features

Intended AudienceScholarly & Professional

ReviewsThis collected volume is a vital cinematic intervention in master narratives of modern Iran from the 1960s to 2014. Based on the premise that films can work as a counterforce to official histories of institutions, societies, and politics, the book convincingly posits cinema as counter-history. Foregrounding the plurality of histories, memories, material culture, and audiovisual archives, the brilliant chapters in this volume boldly attest to how cinematic memoryscapes and afterimages make 'hidden history' visible and tangible. Scholars and students of Iranian cinema, media, and modern history interested in going beyond conventional understandings of film and history will appreciate this volume's theorizing of film as a site of counter-memory production., The authors examine the styles of several major films--including works by Kiarostami, Ayyari, and Hatami--in relation to the politics of representation and what is remembered, forgotten, distorted, or excluded. This is a thought-provoking, insightful, and informative collection of theoretical and philosophical essays about the impact of Iranian films on the collective memory of the audiences.

Dewey Edition23

IllustratedYes

Dewey Decimal791.430955

Table Of ContentIntroduction - Matthias Wittmann and Ute Holl Part I: An Archaeology of Possible Futures 1. The Incomplete: Film, Politics, and Remembering the Past - Tara Najd Ahmadi 2. The Hidden Half , or the Temporal and Collective Politics of Counter-Memory - Sara Saljoughi 3. Counter-Investigations. On Matchboxes, Black Boxes and other Forgotten Futures - Chowra Makaremi and Emmanuel Alloa Part II: Material Matters - Memory, Accessibility, translation 4. An Archaeology of Access: Materiality, Historiography, and Iranian Cinema - Blake Atwood 5. Black Seals: Missive from Iran's National Music - Negar Mottahedeh 6. Different Time, Different Space: Filmic Forms of Counter-Memory in Abbas Kiarostami's Koker Trilogy - Ute Holl Part III: Interstices. Niches. Impure Memories 7. Towards an Impure Memory. An Archaeology of Counter-Memories through Telescoping Lenses - Matthias Wittmann 8. Seeking Love in the Interstices: Acousmatic Listening as Counter-Memory in Abbas Kiarostami's Shirin (2008) - Michelle Langford 9. Spiritual Counter-Memories of the War: Mohammad Ali Ahangar's Recent Contributions to the Sinema-ye Defa-ye Moqaddas - Viktor Ullmann Part IV: Transgenerational Gaps and Transmissions 10. Filmfarsi as Counter-memory - Pedram Partovi 11. A Shadow for Invisible Films. A Way to Break the Monopoly of Image Production in Iran - Shahram Mokri 12. At the End of a Century (1996) - Bahram Beyzaie (translated by Amir Roshan)

SynopsisFarid ad-Din-e Aar'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 Simorgh. 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.

LC Classification NumberPN1993.5