Whilst researching this book, I have been fortunate enough to exchange views and ideas with a number of enthusiastic and attentive people, who have aided me through their considerable subjects of expertise and stimulating discussions. This research has greatly benefited from my discussions with Jean-Marc Moura and John Gurney, to whom I express my deepest gratitude. This starts with my supervisor at the School of Oriental and African Studies, Nima Mina, and the members of my PhD supervisory committee, Arshin Adib-Moghaddam and Ayman El-Desouky, as well as with the members of my PhD examination jury, Edmund Herzig and Karima Laachir, who made enlightening comments. Nanquette_FM.indd vi 7:45:22 PM LIST OF TABLES Table 1 Corpus of texts Table 2 Criteria for defining trends of representation Nanquette_FM.indd vii 22 24 7:45:22 PM ACK NOWLEDGEMENTS It is a pleasure to thank the people who have made this book possible. Unless otherwise stated, all translations into English are mine. I have provided English translation for Persian and French quotes. I have followed the common English spelling of proper names, and the anglicised forms of Persian terms appearing in the Oxford English Dictionary. And the movie's popularity in Iran left the government no choice but to put it forward for the Oscars.NOTES ON TR ANSLITER ATION AND TR ANSL ATION This book uses the transliteration system used for Persian in the Iranian Studies journal. The ban was lifted after Farhadi apologised for his comments. The movie was initially banned in Iran because Farhadi, during another award ceremony, had expressed support for Iranian filmmakers including Mohsen Makhmalbaf and Jafar Panahi, who had been connected to the Iranian green movement. The film gained greater attention after Farhadi boycotted the awards ceremony because US President Donald Trump issued an executive order temporarily banning immigrants from seven Muslim-majority countries, including Iran.įarhadi also won an Oscar for his 2011 film, A Separation (Jodaeiye Nader az Simin), which examines issues of class and and gender through the eyes of a married couple struggling with life decisions. He won best foreign language film for his 2016 psychological drama The Salesman (Forushande). If you just think about winning an Oscar or you just think about pleasing the jury at the Cannes Festival, you can't create a good movie."įarhadi in particular is a master at getting past Iran's censors while still making subtle criticisms of the society in which he lives. In my opinion this is the ideal way of making films. And if they didn't, he was doing what he wanted to do. "I can't say Mr Kiarostami made films to please filmgoers at festivals," he says. But they still highlight Iranian people's everyday struggles. Nematollah prefers to cater to Iranian tastes and his films are not as political. This is perhaps how Nematollah's fim style differs from other celebrated Iranian filmmakers like Panahi, Kiarostami and two-time Oscar winner Asghar Farhadi. Again, the film won several awards despite its suppression, including the Golden Lion at the Venice Film Festival that year. Another Panahi film in 2000, The Circle (Dayereh), which criticises the treatment of women in Iran, was also banned. The Ministry of Culture and Islamic Guidance agreed to release it if Panahi agreed to a number of cuts, which Panahi refused, but it won the Cannes Film Festival's coveted Un Certain Regard jury award. Over the past decade, movies to gain Western attention for being banned include the 2003 movie Crimson Gold ( Talaye Sorkh), directed by Jafar Panahi and written by the late Abbas Kiarostami. In his first year as Supreme Leader, Ayatollah Ruhollah Khomeini banned more than 500 foreign films. After the revolution, movies were banned for being sources of what the new regime saw as foreign corruption and imperialism. "I would like for Iran to grow," he says.īut staying in Iran means constantly testing boundaries of Islamic propriety. He says he loves Iran and would never leave, because he feel his work can help lift Iran's prosperity. Nematollah made the decision to be a filmmaker after seeing the 1985 movie The Runner (Davandeh), one of the first of the post-revolution Iranian films to attract worldwide attention.
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