Javad Nematollahi
Biographic Data
| ID | 4431982 |
|---|---|
| NAME | Javad Nematollahi |
| GIVEN NAMES | Javad |
| FAMILY NAME | Nematollahi |
| SIGNATURE | NEMATOLLAHI J |
| AFFILIATIONS | Tarbiat Modares University |
| ORCID | 0000-0002-2575-9924 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2024 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Modernized Iranian family and its critique in late Pahlavi era cinema1
This article examines the transformation of the Iranian family during the Pahlavi era through the lens of cinema, focusing on FilmFarsi and the Iranian New Wave. It argues that modernization did not replace traditional values but recontextualized them within an emerging consumerist and visual culture. Drawing on Marx’s concept of commodity fetishism and Debord’s society of the spectacle, the study shows how the family – historically rooted in eco…
Urban spaces, flânerie, and the crisis of modern Iranian identity in Kamran Shirdel’s the Morning of the Fourth Day (1972)
Kamran Shirdel’s The Morning of the Fourth Day (1972), a seminal yet understudied work of Iranian New Wave cinema, extends the director’s documentary critique of Pahlavi modernisation into fiction through a reflexive and formally experimental mode. This article reads the film as an inquiry into urban spectatorship under uneven modernisation, arguing that Shirdel transforms Tehran into a visual field of commodities, screens, and circulating desire…
Spaces of Tradition vs. Spaces of Modernity in Street Cinema of Iranian New Wave: Case Study of The Strait (1973) & The Beehive (1975)
Notes1 It should be noted that for Sobchak, “home” is the equivalent of Bachelard’s “House” whereas in her literature, “house” is not the same with “home” and it lacks the intimacy expected from “home”.2 It is interesting to note how Ashraf herself is a modern individual, in contrast to traditional maternal figure of Ali’s mom. Ashraf can’t have a home whereas Ali’s mom does, that is of course until it is threatened by Ali’s misdeeds.3 We should …
Female Flâneurs and Modern Urban Spaces in Goli Taraghi’s Tehran
This study examines how Goli Taraghi’s short stories, “The Grandma’s Home” and “The Flowers of Shiraz,” portray young female protagonists navigating mid-20th-century Tehran as flâneuses (female urban flâneurs). Applying Western theories of flânerie, spectatorship, and gendered space to Persian literature, this article argues that Taraghi’s characters leverage consumer culture, cinema outings, and sensory exploration to negotiate opportunities off…
Displaying Modern Life: Experiencing the Promises, Desires, and Perils of Mohammad Reza Pahlavi’s Tehran through Window-Shopping in Crossroad of Events (1955), Mr. Naive (1971), and Under the Skin of …
This article delves into the experience of urban modernity in Mohammad Reza’s Tehran, focusing particularly on the phenomenon of window-shopping as depicted in three films: Chaharrah-e Havades (The crossroad of events, Samuel Khachikian, 1955); Aghay-e Halu (Mr. Naive, Dariush Mehrjui, 1971); and Zir-e Pust-e Shab (Under the skin of night, Fereydun Gole, 1974). These films, set against the backdrop of Tehran’s urban metamorphosis, offer a narrati…
The Dialectic of Progress and Decay: Two Documentaries on the Modernization of Tehran during the Pahlavi Era, Ahmad Faroughi’s Tehran, Today (1962) and Kamran Shirdel’s Tehran is the Capital of Iran (…
The Pahlavi era’s notion of modernity, despite achieving moderate success in some aspects, encountered significant challenges during its implementation. The formation of a collective driven by utopian fantasies of progress ultimately resulted in dramatic failures. In response to this failure, the state resorted to propagandistic measures to advertise the successful aspects of modernization project, and superficial reforms to maintain an image of …
The Omnipresent Gaze: Exploring Surveillance in Amir Naderi's Goodbye Friend (1971)
with the rapid expansion of monitoring techniques such as data collection through social media and the widespread acceptance of surveillance technologies, such as the ubiquitous deployment of closed-circuit televisions (CCTVs) in public spaces and advanced identity verification tools, the concept of surveillance has become a significant topic in scholarly studies and a worrisome aspect of daily life (Levin 578–79). Michel Foucault's discussions, …
Three cases of women vs. urban spaces from the new era of women’s representation in Iranian cinema: The Circle (2000), Boutique (2004) and I (2016)
Iranian cinema underwent a significant transformation in the late 1990s concerning the presence and primacy of women and their issues in films. However, it would be an oversimplification to label these films as uniform in their concerns. This study selects three films – The Circle (2000), Boutique (2004) and I (2016) – as case studies, focusing on the plight, constraints and responses of Iranian women in the masculine spaces of Tehran. The Circle…
Flânerie, virtual-mobilized gaze and urban experience in Abbas Kirasotami’s The Experience (1973)
This article offers an analysis of one of Abbas Kiarostami’s lesser-known films, The Experience. Focusing on the urban experience of its young protagonist, against the backdrop of Tehran during the height of Mohammad Reza Pahlavi's urbanization project, the film is examined for its treatment of urban attractions, consumer-culture, and the boy’s interaction with them as a young immigrant in modern Tehran. The study highlights Kiarostami’s deviatio…
No prominent works on this page.
The Dialectic of Progress and Decay: Two Documentaries on the Modernization of Tehran during the Pahlavi Era, Ahmad Faroughi’s Tehran, Today (1962) and Kamran Shirdel’s Tehran is the Capital of Iran (…
The Pahlavi era’s notion of modernity, despite achieving moderate success in some aspects, encountered significant challenges during its implementation. The formation of a collective driven by utopian fantasies of progress ultimately resulted in dramatic failures. In response to this failure, the state resorted to propagandistic measures to advertise the successful aspects of modernization project, and superficial reforms to maintain an image of …
The Omnipresent Gaze: Exploring Surveillance in Amir Naderi's Goodbye Friend (1971)
with the rapid expansion of monitoring techniques such as data collection through social media and the widespread acceptance of surveillance technologies, such as the ubiquitous deployment of closed-circuit televisions (CCTVs) in public spaces and advanced identity verification tools, the concept of surveillance has become a significant topic in scholarly studies and a worrisome aspect of daily life (Levin 578–79). Michel Foucault's discussions, …
Three cases of women vs. urban spaces from the new era of women’s representation in Iranian cinema: The Circle (2000), Boutique (2004) and I (2016)
Iranian cinema underwent a significant transformation in the late 1990s concerning the presence and primacy of women and their issues in films. However, it would be an oversimplification to label these films as uniform in their concerns. This study selects three films – The Circle (2000), Boutique (2004) and I (2016) – as case studies, focusing on the plight, constraints and responses of Iranian women in the masculine spaces of Tehran. The Circle…
Flânerie, virtual-mobilized gaze and urban experience in Abbas Kirasotami’s The Experience (1973)
This article offers an analysis of one of Abbas Kiarostami’s lesser-known films, The Experience. Focusing on the urban experience of its young protagonist, against the backdrop of Tehran during the height of Mohammad Reza Pahlavi's urbanization project, the film is examined for its treatment of urban attractions, consumer-culture, and the boy’s interaction with them as a young immigrant in modern Tehran. The study highlights Kiarostami’s deviatio…
Spaces of Tradition vs. Spaces of Modernity in Street Cinema of Iranian New Wave: Case Study of The Strait (1973) & The Beehive (1975)
Notes1 It should be noted that for Sobchak, “home” is the equivalent of Bachelard’s “House” whereas in her literature, “house” is not the same with “home” and it lacks the intimacy expected from “home”.2 It is interesting to note how Ashraf herself is a modern individual, in contrast to traditional maternal figure of Ali’s mom. Ashraf can’t have a home whereas Ali’s mom does, that is of course until it is threatened by Ali’s misdeeds.3 We should …
Female Flâneurs and Modern Urban Spaces in Goli Taraghi’s Tehran
This study examines how Goli Taraghi’s short stories, “The Grandma’s Home” and “The Flowers of Shiraz,” portray young female protagonists navigating mid-20th-century Tehran as flâneuses (female urban flâneurs). Applying Western theories of flânerie, spectatorship, and gendered space to Persian literature, this article argues that Taraghi’s characters leverage consumer culture, cinema outings, and sensory exploration to negotiate opportunities off…
Displaying Modern Life: Experiencing the Promises, Desires, and Perils of Mohammad Reza Pahlavi’s Tehran through Window-Shopping in Crossroad of Events (1955), Mr. Naive (1971), and Under the Skin of …
This article delves into the experience of urban modernity in Mohammad Reza’s Tehran, focusing particularly on the phenomenon of window-shopping as depicted in three films: Chaharrah-e Havades (The crossroad of events, Samuel Khachikian, 1955); Aghay-e Halu (Mr. Naive, Dariush Mehrjui, 1971); and Zir-e Pust-e Shab (Under the skin of night, Fereydun Gole, 1974). These films, set against the backdrop of Tehran’s urban metamorphosis, offer a narrati…
Modernized Iranian family and its critique in late Pahlavi era cinema1
This article examines the transformation of the Iranian family during the Pahlavi era through the lens of cinema, focusing on FilmFarsi and the Iranian New Wave. It argues that modernization did not replace traditional values but recontextualized them within an emerging consumerist and visual culture. Drawing on Marx’s concept of commodity fetishism and Debord’s society of the spectacle, the study shows how the family – historically rooted in eco…
Urban spaces, flânerie, and the crisis of modern Iranian identity in Kamran Shirdel’s the Morning of the Fourth Day (1972)
Kamran Shirdel’s The Morning of the Fourth Day (1972), a seminal yet understudied work of Iranian New Wave cinema, extends the director’s documentary critique of Pahlavi modernisation into fiction through a reflexive and formally experimental mode. This article reads the film as an inquiry into urban spectatorship under uneven modernisation, arguing that Shirdel transforms Tehran into a visual field of commodities, screens, and circulating desire…
Islamic Studies and History (6 works) · Movie theater (4 works) · Political science (4 works) · Psychology (4 works) · Turkey's Politics and Society (4 works) · Walter Benjamin Studies Compilation (4 works) · Aesthetics (3 works) · Art (3 works) · Law (3 works) · Modernization theory (3 works)