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1-16 of 16 Search Results for
New Iranian Cinema
Camera Obscura (2018) 33 (1 (97)): 57–81.
Published: 01 May 2018
...Farshid Kazemi Though proscriptions on the gaze in the New Iranian Cinema have been analyzed to some degree, similar proscriptions on the female voice have remained a virtual terra incognita. This article theorizes the unique structure of the voice operative in the New Iranian Cinema through what...
Camera Obscura (2005) 20 (2 (59)): 1–33.
Published: 01 September 2005
.... The ideological positioning of the state since 1979 has been dialectically defined by the economic exploitation of the country by Europe and the US and their perceived cultural hegemony prior to the overthrow of the Shah. 2. Laura Mulvey, “Afterword,” in The New Iranian Cinema: Politics...
Camera Obscura (2009) 24 (2 (71)): 43–75.
Published: 01 September 2009
.... 8. Ziba Mir-Hosseini, “Negotiating the Politics of Gender in Iran: An Ethnography of a Documentary,” in New Iranian Cinema: 70 • Camera Obscura Politics, Representation, and Identity, ed. Richard Tapper (London: I. B. Tauris, 2002), 196. 9. Following the Islamic...
Camera Obscura (2007) 22 (1 (64)): 1–41.
Published: 01 May 2007
... of Sadegh Heydat in the 1930s, the modernist poets of the 1960s (including Farrokhzad), and the emergence of new Iranian cinema in the 1960s and 1970s, whose aesthetics and concerns have continued into the present postrevolutionary phase of Iranian cinema. 6. Negar...
Camera Obscura (2017) 32 (1 (94)): 1–31.
Published: 01 May 2017
... of the cinema of poetry. It argues that the techniques used by Farrokhzad are key to the development of a new film form in Iran. Sara Saljoughi is an assistant professor of English and cinema studies at the University of Toronto. Her writing is published in Iranian Studies, Feminist Media Histories...
Camera Obscura (2000) 15 (1 (43)): 163–191.
Published: 01 May 2000
...Negar Mottahedeh Camera Obscura 2000 Negar Mottahedeh is a professor of cultural studies and comparative literature at Ohio Wesleyan University. She is currently working on a book-length project on Iranian cinema of the 1980s and 1990s. CO 43-5, 162-191 6/7/00 11:56 AM Page 162 CO...
Camera Obscura (2022) 37 (3 (111)): 145–177.
Published: 01 December 2022
... seriously in order to be taken seriously? What do you have to make light of in order to bear it? Among a set of young filmmakers whose works have been heralded as the sign of a “new queer cinema renaissance,” Akhavan both celebrates and contests the subversive pleasures of queer life. 3 Like the films...
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Camera Obscura (2011) 26 (2 (77)): 91–121.
Published: 01 September 2011
... to Iranian cinema, since this subject has garnered significant attention within the Western academic canon. In his seminal essay, “Veiled Visions/Powerful Presences: Women in Post- revolutionary Iranian Cinema,” Hamid Naficy argues that the insti- tutionalization of modesty in Iran, as formulated...
Camera Obscura (1993) 11 (1 (31)): 149–151.
Published: 01 May 1993
...: Essays on Representations by Richard Dyer. Routledge, 1993. $15.95. The Cinema in France: After the New Wave by Jill Forbes. Indiana University Press, 1994. $14.95. Still Life in Real Time: Theory After Television by Richard Dienst. Duke University Press, 1994...
Camera Obscura (2012) 27 (2 (80)): 135–143.
Published: 01 September 2012
..., 2011), Suzy Salamy's 1982/2006 (US, 2006), and Moufawad-Paul's Rejoice, O My Heart / يبلق اي حرفا (Canada, 2011) suggest an irreverent queer strategy by undermining the narrative conventions and visual codes of mainstream news media and popular US and Egyptian cinema. Salamy's video, previously...
Camera Obscura (2022) 37 (3 (111)): 1–29.
Published: 01 December 2022
... to the viewers’ (and my own) experience of “the archive effect” in new works of remix and to questions that the remix opens. The scholarship on the archive and history of the Qajar period is rich and expansive. The task in this essay, which is part of a larger project on archive and memory in Iranian...
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Camera Obscura (2003) 18 (3 (54)): 41–69.
Published: 01 December 2003
...Laura U. Marks Camera Obscura 2003 Laura U. Marks , a theorist and curator of independent and experimental media, is the author of The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham, NC: Duke University Press, 2000) and Touch: Sensuous Theory...
Camera Obscura (2009) 24 (2 (71)): 1–41.
Published: 01 September 2009
...: University of California Press, 1992); and Lauren Rabinovitz, Points of Resistance: Women, Power, and Politics in the New York Avant-Garde Cinema, 1943 – 71 (Urbana: University of Illinois Press, 1991). 3. See, e.g., Wheeler Winston Dixon, The Transparency of Spectacle...
Camera Obscura (2000) 15 (2 (44)): 105–149.
Published: 01 September 2000
... Page 105 Turkish Cinema in the New Europe: Visualizing Ethnic Conﬂict in Sinan Çetin’s Berlin in Berlin Angelica Fenner The Turkish media landscape underwent sweeping changes in the 1990s...
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
..., they run directly into a scene lifted from news imagery of a Palestinian or possibly Iranian march, complete with a dead body being carried. The loss of the referent here is precisely the point, since what the image represents is Islam, alterity, and threat in a single constel- lation...
Camera Obscura (1992) 10 (1 (28)): 206–237.
Published: 01 January 1992
.... 26. Ann Louise Bardach also reports that many Iranian women reportedly seek to replace their “strong arched noses” with small pert upturned ones. “The Dark Side of Cosmetic Surgery: Long Term Risks are Becoming Increasingly Apparent,” The New York Times Magazine...