Iranina Cinema has been one of the most fascinating success stories in the world cinema over the last twenty years, with critics in Europe and North America hailing it as an alternative to the homogenising global influence of mainstream Hollywood cin ...
Iranina Cinema has been one of the most fascinating success stories in the world cinema over the last twenty years, with critics in Europe and North America hailing it as an alternative to the homogenising global influence of mainstream Hollywood cinema. Christopher Gow examines how the success of this cinema and the films of its foremost proponent, Abbas Kiarostami, can be accounted for by the extent to which they fit into pre-established, seminal notions of 'art cinema'.
Gow also seeks to expand our understanding of post-revolutionary Iranian cinema by exploring the close links between the New Iranian Cinema and émigré Iranian filmmaking, from the German films of Sohrab Shahid Saless to Vadim of Sand and Fog. The book reveals how this large and siperesed émigré Iranian cinema challenges our understanding of New Iranian Cinema itself, as well as concepts of national cinema more generally.
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