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Introduction
Current institution
Publications
Publications (6)
Asghar Farhadi’s cinema has found a worldwide audience in recent years, and most of his movies have been globally celebrated. His most recent movie The Salesman, however, has had a dialectical existence in his own homeland. The nature of this controversy reveals up a number of dominant social issues in contemporary Iran. Accordingly, Iranian could...
In his book titled Makhmalbaf at Large: The Making of a Rebel Filmmaker, Hamid Dabashi rejects Jean Baudrillard’s generalization that the postmodern world has created a transaesthetic realm of indifference in the field of arts (Dabashi 2008: 199). Dabashi accuses Baudrillard of Eurocentrism and refers to Mohsen Makhmalbaf ’s cinema as an example of e...
Despite critical acclaim and a recent surge of popularity with Western audiences, Iranian cinema has been the subject of few academic studies—and those have been limited to the genres most visible on the international film circuit. Iranian Cinema and Globalization seeks to broaden readers’ exposure to other dimensions of Iranian cinema, including t...
Despite being one of the pioneers of Iranian cinema's “new wave” in the 1960s, Daryush Mehrjui has maintained his position in the cinema as an influential filmmaker. He is still capable of making films which are both popular with public audiences and highly acclaimed by Iranian critics. Mehmaneh Maman (Mum's Guests), a social comedy he made in 2004...
