Neorealism, Iranian Style
Bibliographic Data
| ID | 9978094 |
|---|---|
| Authors | Stephen Weinberger (Dickinson College, corresponding author) |
| Year | 2007 |
| Volume | 40 |
| Issue | 1 |
| Pages | 5-16 |
| Publication date | 2007-02-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Iranian Studies (JOURNAL) |
| Journal identifiers | ISSN: 0021-0862 • E-ISSN: 1475-4819 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1080/00210860601138590 |
| OpenAlex | W2082857178 |
| Language | EN |
| Citations received | 3 |
One of the most remarkable developments in international film of recent memory is the emergence of a vibrant and creative film industry in Iran following the Islamic Revolution of 1979. In light of worldwide acclaim for the work of Iranian filmmakers, scholars have pointed to a strong similarity between the style of these films and those of post-war Italian Neorealist filmmakers. By analyzing the works of three of Iran's leading directors, Abbas Kiarostami, Mohsen Makhmalbaf and Majid Majidi and comparing them with the greatest Italian Neorealist film, The Bicycle Thief , this study will attempt to show how Iranians are working within the Neorealist tradition while at the same time making it distinctively their own
Art · International relations · Islam · Literature · Neorealism (international relations · Political science · Politics · Style (visual arts · Contemporary and Historical Greek Studies · History · Law · Turkey's Politics and Society
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| Citations per year | 0.33 |
|---|---|
| Citation span | 2017 - 2021 (5) |
| Highly cited | No |