Sara Saljoughi: The Politics of Form in the Iranian Cinema, 1962-1979 PastFriday, Nov 25, 2016 ,
Abstract: This paper examines the politics of form in Iranian experimental and art cinema prior to the 1979 Iranian Revolution. The films that came to be known as mowj-e no (the New Wave) were preoccupied with cinema's relationship to social change. Through a textual analysis of three films, including Forough Farrokhzad's Khaneh siah ast/The House is Black (1962), I argue that the New Wave articulated the desire to rethink the form of the collective outside the existing models provided by the state and its major opponents. This re-thinking of collectivity emerged, I argue, as both a new form and a model for new social relations.
Sara Saljoughi is Assistant Professor in the department of English at UTSC and at the Cinema Studies Institute. She completed her PhD in the department of Cultural Studies and Comparative Literature at the University of Minnesota. Her areas of research interest are world cinema, film theory (especially questions of aesthetics and politics), postcolonial studies, and psychoanalysis. Her writing appears and is forthcoming in Camera Obscura, Iranian Studies, Feminist Media Histories, Film Criticism, Film International, and Jadaliyya, among others. She is currently at work on a manuscript about experimental and art cinema in Iran prior to the 1979 Iranian Revolution. She is co-editor, with Christina Gerhardt, of the edited collection 1968 and Global Cinema (under contract with Wayne State University Press).
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