Framing the war in the post war era
Exploring the counter-narratives in frames of an Iranian war photographer thirty years after the ceasefire with Iraq
Datos Bibliográficos
| ID | 12904652 |
|---|---|
| Autores | Y Saramifar (0000-0001-8553-4463, Vrije Universiteit Amsterdam, autor de correspondencia) |
| Año | 2018 |
| Volumen | 12 |
| Número | 4 |
| Páginas | 392-410 |
| Fecha de publicación | 2018-08-07 |
| Peer Reviewed | Sí |
| Open Access | Sí |
| Tipo | ARTICLE |
| Revista | Media War & Conflict (JOURNAL) |
| Identificadores de la revista | ISSN: 1750-6352 • E-ISSN: 1750-6360 |
| Editorial | SAGE Publishing (PUBLISHER • US) |
| DOI | 10.1177/1750635218789437 |
| OpenAlex | W2885056485 |
| Idioma | EN |
| Referencias citadas | 14 |
The battle between Iran and Iraq ended with a ceasefire being signed in 1988 but the war continued for most Iranians and their leadership. Even today after three decades, the war continues for Iranians who live in the borderlands as they struggle with the landmines and left-overs of the battles. Mehdi Monem, a celebrated Iranian war photographer, frames the pain of Iranians in the borderlands as the counter-narrative that challenges the mainstream frames of propaganda. He challenges the master narrative of the Islamic Republic of Iran that generates meanings for the frames of the war through notions of martyrdom and sacrifice. Hence, I follow his work in the context of the visual culture of martyrdom via an ethnography that explains how Iranians receive the pain of others 30 years after the war at home and abroad
Ancient history · Archaeology · Art · Battle · Context (archaeology · Ethnography · Framing (construction · Islam · Literature · Mainstream · Media studies · Narrative · Political science · Sacrifice · Sociology · Spanish Civil War · Gender Studies · History · Law · Memory, Trauma, and Commemoration · Photography and Visual Culture · Visual Culture and Art Theory
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |