Abstract:Kiarostami continues to be an enigma for most cinephiles partly due to his own conscious attempts at concealment and prevarication. The article attempts to clarify his political, ideological and philosophical positions and contextualize his output within the dynamics of Iranian capitalism. Beginning with an investigation of his film techniques (including his use of framing, sound, image and music) I will discuss his attitude toward nationalism, psychology and religion. I end by suggesting reasons for his popularity outside Iran.
Document Type: Research Article
Affiliations: Manchester Metropolitan University
Publication date: September 1, 2004
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- The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.
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