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Iranian War Cinema

Between Reality and Fiction

Bibliographic Data

ID9978686
AuthorsMichaël Abecassis (0000-0001-9333-463X, University of Oxford, corresponding author)
Year2011
Volume44
Issue3
Pages387-394
Publication date2011-04-20
Open AccessYes
TypeARTICLE
VenueIranian Studies (JOURNAL)
Journal identifiersISSN: 0021-0862 • E-ISSN: 1475-4819
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1080/00210862.2011.556390
OpenAlexW2161776835
LanguageEN
Citations received1
References cited4

The fascination for the Western world with Iranian cinema lies primarily with the fable-like developments of its stories which often plunge us into a world of exoticism and lured us with its singularity. Iranian war cinema born during the war between Iran and Iraq is not as well distributed in Europe and films with English subtitles are difficult to get hold of. Whether it is interpreted as an anthropological document which opens a dialogue between the protagonist and the spectators, the “I” and the other, Iranian war cinema by Tabrizi, Sinayi, Hatamikia and Ghobadi, among many others, can be seen as a spiritual voyage where the soul hovers between absence and presence. In the wake of war cinema in general, one can draw parallels with mythology, the Judeo-Christian tradition, literature and art. Its function is not only didactic but cathartic, and the particularity of Iranian war cinema like no other is that it participates in the mourning process of a whole nation fighting against its own ghosts and in search of its identity. This article attempts to decipher the myths hidden behind the images presented by Iranian war cinema, paradoxically interweaving the traumatic with the aesthetic

Aesthetics · Art · Epistemology · Exoticism · Identity (music · Literature · Movie theater · Mythology · Parallels · Soul · Contemporary and Historical Greek Studies · History · Philosophy · South Asian Cinema and Culture · Turkey's Politics and Society

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Citations per year0.2
Citation span2021 - 2021 (1)
Highly citedNo

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