Counter-Memories in Iranian Cinema / / ed. by Matthias Wittmann, Ute Holl.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2021
• MitwirkendeR: Alloa, Emmanuel,; Atwood, Blake,; Beyzaie, Bahram,; Holl, Ute,; Langford, Michelle,; Makaremi, Chowra,; Mokri, Shahram,; Mottahedeh, Negar,; Najd Ahmadi, Tara,; Partovi, Pedram,; Saljoughi, Sara,; Ullmann, Viktor,; Wittmann, Matthias,
• HerausgeberIn: Holl, Ute,; Wittmann, Matthias,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (272 p.) :; 30 B/W illustrations

Reassesses the post-revolutionary Iranian Cinema from a new mnemo-political perspectiveEstablishes a new framework of understanding the tensions between hegemonial and excluded aesthetics and rhetorics, between censorship and resistance, carving out resistant points of remembering within and outside state-controlled cinemaExposes silenced experiences and suppressed struggles that nevertheless articulate themselves in cinematic formsLooks for ruptures, frictions and sudden re-distributions within the trauma- and memoryscapes of Iranian CinemaIntroduces new readings of Iranian films and thus suggest a theory of trauma and memory inspired by cinematic procedures and orientated towards specific materialsFarīd ad-Dīn-e ʿAṭṭār’s Persian folk tale The Conference of the Birds relates the quest by thousands of pilgrim birds for an ideal king, the mythical bird called Sīmorgh. At the end of the quest, the surviving birds recognise that the longed-for king is nothing other than the reflection of their own existence. But what about those other birds that were not able to become part of the final representation? This groundbreaking book calls them ‘counter-memories’; memories that are barred from hegemonic history, but are, nevertheless present in cinematic forms. Due to the strategic and artistic interventions of a range of Iranian filmmakers, such as Abbas Kiarostami and Shahram Mokri, Ali Hatami and Tahmineh Milani, Kianoush Ayari and Rakshan Banietemad, the history of post-revolutionary Iranian Cinema is also structured by counter-memories, with the potential to destabilise officially fabricated success stories of revolution, war and sacred defence. Counter-Memories in Iranian Cinema establishes a new framework for understanding the tensions between censorship and resistance, helping to carve out resistant points of remembering both within and outside state-controlled cinema.

Table of Contents

Frontmatter -- CONTENTS -- List of Figures -- Acknowledgments -- Notes on Contributors -- Introduction -- PART I AN ARCHAEOLOGY OF POSSIBLE FUTURES -- 1. The Incomplete: Film, Politics, and Remembering the Past -- 2. The Hidden Half, or the Temporal and Collective Politics of Counter-Memory -- 3. Counter-Investigations: On Matchboxes, Black Boxes, and other Forgotten Futures -- PART II MATERIAL MATTERS: MEMORY, ACCESSIBILITY, TRANSLATION -- 4. An Archaeology of Access: Materiality, Historiography, and Iranian Cinema -- 5. Black Seals: Missive from Iran’s National Music -- 6. Different Time, Different Space: Filmic Forms of Counter-Memory in Abbas Kiarostami’s Koker Trilogy -- PART III INTERSTICES. NICHES. IMPURE MEMORIES -- 7. Towards an Impure Memory: An Archaeology of Counter-Memories through Telescoping Lenses -- 8. Seeking Love in the Interstices: Acousmatic Listening as Counter-Memory in Abbas Kiarostami’s Shirin (2008) -- 9. Spiritual Counter-Memories of the War: Mohammad Ali Ahangar’s Recent Contributions to the Sīnemā-ye Defāʿ-ye Moqaddas -- PART IV TRANSGENERATIONAL GAPS AND TRANSMISSIONS -- 10. Filmfarsi as Counter-Memory -- 11. A Shadow for Invisible Films: A Way to Break the Monopoly of Image Production in Iran -- 12. ‘At the End of a Century’ (1996) -- Index