Research output: Contribution to conference - Without ISBN/ISSN › Conference paper › peer-review
Research output: Contribution to conference - Without ISBN/ISSN › Conference paper › peer-review
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TY - CONF
T1 - Rethinking the ‘New’ in New Iranian Cinema
AU - Ghorbankarimi, Maryam
N1 - Conference code: 2022
PY - 2022/6/18
Y1 - 2022/6/18
N2 - The “New Wave” of Iranian cinema witnessed in the 1960s alongside other global movements, with films such as Forugh Farrokhzad’s poetic documentary Khāneh Siyāh Ast (The House is Black, 1962) or Dariush Mehrjui’s symbolic drama Gāv (The Cow, 1969), among others. This was directly paralleled by the “committed literature” movement that began in early 1950s. This sense of commitment was not confined to the literary realm, but also affected the independent cinema of the 1960s and the Iranian intelligentsia in general. And their continuation is what created the backbone of Iranian cinema after the revolution. In the 1990s the decade in which Iranian cinema began its grand global appearance with notable works by directors such as Abbas Kiarostami, Bahram Beizai and Majid Majidi is when the term ‘New Iranian Cinema’ began circulating in academic spheres. The Iranian style of filmmaking, with its long takes, long shots, and minimal editing, offering a sense of “realism,” remained for years the formal definition of New Iranian cinema. In this paper I would like to go back and decolonise this definition and help understand the breadth of Iranian cinema since 1990s and highlight some key contributors that are often kept out of the limelight.
AB - The “New Wave” of Iranian cinema witnessed in the 1960s alongside other global movements, with films such as Forugh Farrokhzad’s poetic documentary Khāneh Siyāh Ast (The House is Black, 1962) or Dariush Mehrjui’s symbolic drama Gāv (The Cow, 1969), among others. This was directly paralleled by the “committed literature” movement that began in early 1950s. This sense of commitment was not confined to the literary realm, but also affected the independent cinema of the 1960s and the Iranian intelligentsia in general. And their continuation is what created the backbone of Iranian cinema after the revolution. In the 1990s the decade in which Iranian cinema began its grand global appearance with notable works by directors such as Abbas Kiarostami, Bahram Beizai and Majid Majidi is when the term ‘New Iranian Cinema’ began circulating in academic spheres. The Iranian style of filmmaking, with its long takes, long shots, and minimal editing, offering a sense of “realism,” remained for years the formal definition of New Iranian cinema. In this paper I would like to go back and decolonise this definition and help understand the breadth of Iranian cinema since 1990s and highlight some key contributors that are often kept out of the limelight.
M3 - Conference paper
T2 - The American Comparative Literature Association's 2022 Annual Meeting will be held virtually from June 15-18 alongside collaborating association CLAROC and co-organizing institution National Taiwan Normal University.
Y2 - 15 June 2022 through 18 June 2022
ER -