Morteza Yazdanjoo
Biographic Data
| ID | 1375592 |
|---|---|
| NAME | Morteza Yazdanjoo |
| GIVEN NAMES | Morteza |
| FAMILY NAME | Yazdanjoo |
| SIGNATURE | YAZDANJOO M |
| AFFILIATIONS | Kharazmi University |
| ORCID | 0000-0002-1815-9218 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Engineering empathy
The posthumanist concepts of ‘becoming companion species’ and ‘species cosmopolitanism’ present a fundamental challenge to anthropocentric paradigms. Video games, as interactive media, present a unique capacity to simulate and interrogate these ethical frameworks. This study draws on the posthumanist theories of Pramod Nayar and Rosi Braidotti to argue that Arkane Studios’ Prey (2017) functions as a sophisticated ethical simulator. The game uses …
Performing the poetics of the Iranian dream on silver screen
Iranian cinema is an artistic forum in which cultural values and national sentiments are discursively performed, rehearsed, and negotiated. It plays a pivotal role in propagating and consolidating various vestiges of national identity. The interplay between cinema and national identity finds its apotheosis in the directorial oeuvre of Dariush Mehrjui, which is characterised by a vested interest in cross-cultural appropriation of canonical literar…
Indigenising American Spirituality
Despite the emergence of insightful scholarship in Iranian cinema in the twenty-first century, there is a paucity of critical studies on the crossroad between cinema and national identity, particularly how the latter is constructed, (re)inscribed, and refashioned through the structures of feeling the former concocts. A particular case in point is the directorial oeuvre of Dariush Mehrjui, an auteur whose feature films play a vital role in nurturi…
The Thousand-faced Salesman
Arthur Miller’s Death of a Salesman (1949) is one of the most adapted and adaptable American plays, spawning numerous appropriations in cinema, television, and other products of popular culture. The salesman concept travels through generations and cultures by adapting itself to new sociocultural environments. This article examines the adaptive and appropriative features in Asghar Farhadi’s The Salesman (2016) that, as a cinematic discourse, stret…
Multimodal representation of social discourses in Asghar Farhadi’s A Separation
The directorial oeuvre of Asghar Farhadi thrives on incorporating a wide range of semiotic resources to feature fractured interpersonal relationships, socially indoctrinated gender roles, and class division(s) within the contemporary society of Iran. Farhadi utilizes the cinema as a medium to reflect on latent social contradictions and how personal identity is conditioned by patriarchal forces. A Separation (2011), his magnum opus, cultivates an …
A case of historical adaptation in Iranian media
A comprehensive command of national (Persian) and Western (mainly English/American) literary traditions and a deep knowledge of historical events form the backbone of the cinematographic oeuvre of Hassan Fathi, an Iranian director noted for his “historian-adaptor” approach toward filmmaking. This being the case, in his Shahrzad series (2015–2018), the director details the August 1953 coup d’état in Iran as an intertextual scenario in which a méla…
Multimodal representation of social discourses in Asghar Farhadi’s A Separation
The directorial oeuvre of Asghar Farhadi thrives on incorporating a wide range of semiotic resources to feature fractured interpersonal relationships, socially indoctrinated gender roles, and class division(s) within the contemporary society of Iran. Farhadi utilizes the cinema as a medium to reflect on latent social contradictions and how personal identity is conditioned by patriarchal forces. A Separation (2011), his magnum opus, cultivates an …
A case of historical adaptation in Iranian media
A comprehensive command of national (Persian) and Western (mainly English/American) literary traditions and a deep knowledge of historical events form the backbone of the cinematographic oeuvre of Hassan Fathi, an Iranian director noted for his “historian-adaptor” approach toward filmmaking. This being the case, in his Shahrzad series (2015–2018), the director details the August 1953 coup d’état in Iran as an intertextual scenario in which a méla…
Multimodal representation of social discourses in Asghar Farhadi’s A Separation
The directorial oeuvre of Asghar Farhadi thrives on incorporating a wide range of semiotic resources to feature fractured interpersonal relationships, socially indoctrinated gender roles, and class division(s) within the contemporary society of Iran. Farhadi utilizes the cinema as a medium to reflect on latent social contradictions and how personal identity is conditioned by patriarchal forces. A Separation (2011), his magnum opus, cultivates an …
The Thousand-faced Salesman
Arthur Miller’s Death of a Salesman (1949) is one of the most adapted and adaptable American plays, spawning numerous appropriations in cinema, television, and other products of popular culture. The salesman concept travels through generations and cultures by adapting itself to new sociocultural environments. This article examines the adaptive and appropriative features in Asghar Farhadi’s The Salesman (2016) that, as a cinematic discourse, stret…
Indigenising American Spirituality
Despite the emergence of insightful scholarship in Iranian cinema in the twenty-first century, there is a paucity of critical studies on the crossroad between cinema and national identity, particularly how the latter is constructed, (re)inscribed, and refashioned through the structures of feeling the former concocts. A particular case in point is the directorial oeuvre of Dariush Mehrjui, an auteur whose feature films play a vital role in nurturi…
Performing the poetics of the Iranian dream on silver screen
Iranian cinema is an artistic forum in which cultural values and national sentiments are discursively performed, rehearsed, and negotiated. It plays a pivotal role in propagating and consolidating various vestiges of national identity. The interplay between cinema and national identity finds its apotheosis in the directorial oeuvre of Dariush Mehrjui, which is characterised by a vested interest in cross-cultural appropriation of canonical literar…
Engineering empathy
The posthumanist concepts of ‘becoming companion species’ and ‘species cosmopolitanism’ present a fundamental challenge to anthropocentric paradigms. Video games, as interactive media, present a unique capacity to simulate and interrogate these ethical frameworks. This study draws on the posthumanist theories of Pramod Nayar and Rosi Braidotti to argue that Arkane Studios’ Prey (2017) functions as a sophisticated ethical simulator. The game uses …
Sociology (5 works) · Art (4 works) · Literature (4 works) · Aesthetics (3 works) · Movie theater (3 works) · Philosophy (3 works) · Psychology (3 works) · Appropriation (2 works) · Cinema and Media Studies (2 works) · Dream (2 works)