[ecrea] Special issue of Asian Cinema, 27.2

Intellect is thrilled to announce that the special issue of /Asian 
Cinema, 27. 2, /is now available. This special issue focuses on Iranian 
cinema, with a collection of essays investigating more deeply the 
representation of eroticism in Iranian film: the creative strategies 
involved in both its extra-diegetic form and its internal logic.


if you have any questions about the journal click here 
<http://www.intellectbooks.co.uk/journals/view-Journal,id=219/> or email 
(katy /at/ intellectbooks.com) <mailto:(katy /at/ intellectbooks.com)>.

List of articles (partial list):

Utopia and censorship: Iranian cinema at the crossroads of love, sex and 
tradition <http://www.intellectbooks.co.uk/journals/view-Article,id=22997/>

*Authors: *Amir Ganjavie

Page Start: 113

When faced with strict censorship and social and moral barriers, what 
methods have Iranian directors developed in order to address love, 
desire and passion? In what ways do these methods emancipate or 
emasculate Iranian artists in their quest to express love and eroticism? 
This article attempts to answer these questions, arguing that it makes 
little sense to say that any authoritative system with a system of 
hegemony could prevent its citizens from expressing this impulse in 
their works since the sexual instinct is life’s drive and only at the 
moment of death can humans deny its existence. What is essential, 
radical and utopian is to read the meaning of eroticism in Iranian 
cinema through the specific culture in which the drive has been 
developed and shaped.

When the sun goes down: Sex, desire and cinema in 1970s Tehran 
<http://www.intellectbooks.co.uk/journals/view-Article,id=22998/>

*Authors: *Blake Atwood

Page start: 127

The 1970s witnessed an explosion of sex in Iranian cinema, and the 
representation of bodies and desires became more explicit than ever. The 
rise of on-screen sex flew in the face of successive guidelines released 
by the Ministry of Cultural Affairs (MCA) in 1966 and 1972, which sought 
to limit the production and exhibition of films that featured sexual 
relations. This article explores this paradox and begins to trace the 
contours of a history of cinematic sex in mid-century Iran by examining 
film industry advertising schemes, especially film posters, alongside 
three sex-driven films: Mansur Purmand’s Shir tu shir (Chaos) (1972), 
Feraidun Goleh’s Zir-e pust-e shab (Under the Skin of the Night) (1974), 
and Parviz Sayyad’s Dar emtedād-e shab (Into the Night) (1978).

Real men: Representations of masculinity in Iranian cinema 
<http://www.intellectbooks.co.uk/journals/view-Article,id=23000/>

*Authors: *Christopher Gow

Page Start: 165

The article examines different representations of masculinity in Iranian 
cinema, using Shahin Gerami’s essay ‘Mullahs, martyrs, and men: 
Conceptualizing masculinity in the Islamic Republic of Iran’ as the 
basis for its analysis. The article looks at examples of 
post-revolutionary Iranian cinema – in particular Rakhshan Bani-Etemad’s 
Nargess (1992) and Kamal Tabrizi’s The Lizard (2002) – featuring male 
characters that can be considered in light of the masculine archetypes 
that Gerami identifies. This analysis is prefaced by a brief 
consideration of representations of masculinity in post-revolutionary 
Iranian cinema, in particular Masud Kimiai’s Dash Akol (1971) as an 
example of the luti or ‘tough guy’ genre. By considering these different 
representations of masculinity, the article aims to address the gender 
imbalance in recent studies of Iranian cinema, most of which focus 
predominantly or indeed exclusively on the representation of women, as 
well as challenge stereotypes of Iranian and/or Middle Eastern 
masculinity more generally.

A Self that hides in Others: The cosmopolitan vision of Abbas Kiarostami 
<http://www.intellectbooks.co.uk/journals/view-Article,id=23002/>

*Authors: *Nojang Khatami

Page Start: 189

Given his immense influence on cinema in his homeland, much has been 
said about Abbas Kiarostami as a quintessentially Iranian director and 
artist. Yet his most recent films – Shirin (2008), Certified Copy (2010) 
and Like Someone in Love (2012) – offer interesting terrain for 
exploring how he deals with love and empathy beyond borders. This 
article examines these recent films to argue that Kiarostami’s growing 
cosmopolitan vision encompasses one way of going beyond the notion of 
the gaze as a mode of objectification and domination. Relying heavily on 
the power of the image, his is an aesthetic that invites care and 
empowerment, transcending violence and objectification by teaching the 
audience to look in new ways.


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