000			03793nam a22003491i 4500
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005			20220730145907.0
008			190814s2019 enka ob 001 0 eng d
020			_a9781350116337
040			_aUtOrBLW _beng _erda _cUtOrBLW
043			_aa-ir---
082			_223 _a791.4 _bLA-A
100	1		_aLangford, Michelle _973292
245	1	0	_aAllegory in Iranian cinema _bthe aesthetics of poetry and resistance
260			_aLondon _bBloomsbury _c2019
300			_a1 online resource (xiv, 282 pages) _billustrations
500			_aCompliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily.
504			_aIncludes bibliographical references and index.
505	0		_aList of Figures -- Acknowledgements -- Note on Transliteration -- Introduction - Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance -- 1 Locating Allegory in Pre-Revolutionary Iranian Cinema -- 2 The Allegorical Children of Iranian Cinema -- 3 Allegory and the Aesthetics of Becoming-Woman -- 4 Allegories of Love: The Cinematic Ghazal -- 5 Tending the Wounds of the Nation: Gender in Iranian War Cinema -- 6 Between Laughter and Mourning: About Elly as Trauerspiel of a Generation -- Coda: Allegory Spills into the Streets -- Bibliography -- Index.
520			_a"Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, allegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts - developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack - to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in Iranian Cinema explains how a centuries-old means of expression, interpretation, encoding and decoding becomes, in the hands of Iran's most skilled cineastes, a powerful tool with which to critique and challenge social and cultural norms."--Bloomsbury Publishing.
530			_aAlso issued in print.
533			_aElectronic reproduction. _bLondon : _cBloomsbury Publishing, _d2019. _nAvailable via World Wide Web. _nAccess limited by licensing agreement.
650		0	_aMotion pictures _zIran _xHistory. _973293
650		0	_aCensorship _zIran. _973294
650		0	_aAllegory. _95781
690		0	_aFilm theory & criticism| BIC _973295
856	4	0	_uhttps://doi.org/10.5040/9781350116337?locatt=label:secondary_bloomsburyCollections?locatt=label:secondary_bloomsburyCollections _3Bloomsbury Collections
942			_2ddc
999			_c1281915 _d1281915