Skip to main content

Cease Fire: Rethinking Iranian Cinema through Its Mainstream

Buy Article:

$55.00 plus tax (Refund Policy)

Tahmineh Milani's 2006 film Cease Fire was the highest grossing film of all time in Iran. This article suggests that the study of popular cinema from Iran, formerly dismissed by scholars as unworthy of academic study, can help Western critics and scholars to better understand both Iran and its cinema. This is because popular Iranian cinema in general, and Cease Fire in particular, can offer up alternative views of Iranian society, particularly of Iran's middle classes. All too often, Iran's middle classes do not appear in the Iranian ‘art house’ cinema that typically receives most coverage in the West. And yet, given Cease Fire's popularity, the film obviously appeals to a significant (affluent and/or aspirant) section of Iranian society. Furthermore, the article presents evidence that Cease Fire is not a piece of ‘mere’ generic film-making, but that it involves an intelligent (and intertextual) mise-en-scène, reaffirming Iran's mainstream cinema as worthy of greater academic consideration.
No Reference information available - sign in for access.
No Citation information available - sign in for access.
No Supplementary Data.
No Data/Media
No Metrics

Keywords: Cease Fire; Hamid Dabashi; Iranian cinema; Iranian mainstream cinema; Iranian middle classes; Tahmineh Milani; The Hidden Half; William Brown; feminism in Iran

Document Type: Research Article

Publication date: 2011-05-01

More about this publication?
  • Access Key
  • Free content
  • Partial Free content
  • New content
  • Open access content
  • Partial Open access content
  • Subscribed content
  • Partial Subscribed content
  • Free trial content
Cookie Policy
X
Cookie Policy
Ingenta Connect website makes use of cookies so as to keep track of data that you have filled in. I am Happy with this Find out more