Peripherality and Humor in the Iranian Art Film
Bibliographic Data
| ID | 9979313 |
|---|---|
| Authors | Chris Lippard (0000-0002-6689-8138, University of Utah, corresponding author) |
| Year | 2017 |
| Volume | 50 |
| Issue | 6 |
| Pages | 917-944 |
| Publication date | 2017-06-29 |
| 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 | 10.1080/00210862.2017.1328564 |
| OpenAlex | W2729710602 |
| Language | EN |
| References cited | 17 |
This paper examines a range of post-revolutionary Iranian art films, mostly those watched primarily outside the country via festival screenings, in the context of the relationship between the tropes of peripherality and humor. It argues for the significance and complexity of both terms in the context of this cinema and of the global image of Iran and its peoples. Having examined a kind of humor based on the geographic periphery, specifically derived from relationships between technology, car, and camera, it concludes by reflecting on the advent of new technologies, and social constraints and opportunities in the Iranian art cinema today
Aesthetics · Archaeology · Art · Art history · Context (archaeology · Economic geography · Geography · Movie theater · Political science · Sociology · Cinema and Media Studies · History · South Asian Cinema and Culture · Turkey's Politics and Society
Film Festivals
An essay on the meaning of the comic.
Comedy Incarnate
Islam and Dissent in Postrevolutionary Iran
Underground Cinema in Iran
Melodrama and Censorship in Iranian Cinema
Independent Cinema in Post-1979 Revolution Iran
Keeping It Reel
Global Modernities
Imagining the Diaspora in the New Millennium Comedies of Iranian Cinema
Cinematic Revolution
| Highly cited | No |
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