Counter-Memories in Iranian Cinema /

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

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...

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Bibliographic Details
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
Online Access:
Physical Description:1 online resource (272 p.) :; 30 B/W illustrations
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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

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