Books in French are on www.livres-cinema.info
Counter-Memories in Iranian Cinema
Edited by Matthias Wittmann and Ute Holl
(0 vote)Average rating:
| 0 | rating |  = We can do without |
| 0 | rating |  = Good book |
| 0 | rating |  = Excellent book |
| 0 | rating |  = Unique / a reference |
Your rating: -
Book Presentation:
Reassesses the post-revolutionary Iranian Cinema from a new mnemo-political perspective
• Establishes 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 cinema
• Exposes silenced experiences and suppressed struggles that nevertheless articulate themselves in cinematic forms
• Looks for ruptures, frictions and sudden re-distributions within the trauma- and memoryscapes of Iranian Cinema
• Introduces new readings of Iranian films and thus suggest a theory of trauma and memory inspired by cinematic procedures and orientated towards specific materials
Farīd 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.
About the authors:
Dr Matthias Wittmann is a researcher on media (especially film), curator, and writer. He was Research Associate and Chief Assistant at the Seminar for Media Studies (University of Basel) and Visiting Professor in Vienna. He has just finished a book about the Octopus (Die Gesellschaft des Tentakels, 2021) and is currently writing a book on Martyrographies in Iranian Cinema.
Professor Ute Holl is Professor for Media Aesthetics at Basel University
Press Reviews:
This collected volume is a vital cinematic intervention in master narratives of modern Iran from the 1960s to 2014. Based on the premise that films can work as a counterforce to official histories of institutions, societies, and politics, the book convincingly posits cinema as counter-history. Foregrounding the plurality of histories, memories, material culture, and audiovisual archives, the brilliant chapters in this volume boldly attest to how cinematic memoryscapes and afterimages make ‘hidden history’ visible and tangible. Scholars and students of Iranian cinema, media, and modern history interested in going beyond conventional understandings of film and history will appreciate this volume’s theorizing of film as a site of counter-memory production.– Golbarg Rekabtalaei, Seton Hall University
The authors examine the styles of several major films--including works by Kiarostami, Ayyari, and Hatami--in relation to the politics of representation and what is remembered, forgotten, distorted, or excluded. This is a thought-provoking, insightful, and informative collection of theoretical and philosophical essays about the impact of Iranian films on the collective memory of the audiences.– Mehrnaz Saeed-Vafa, Columbia College Chicago
See the publisher website: Edinburgh University Press
> From the same authors:
The Moses Complex (2017)
Freud, Schoenberg, Straub/Huillet
by Ute Holl
Subject: One Film > Moses and Aron
> On a related topic:
Iranian Cinema in a Global Context (2018)
Policy, Politics, and Form
Dir. Peter Decherney and Blake Atwood
Back
