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 Book Info |  | | 
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| The New Iranian Cinema: Politics, Representation and Identity | | | Author: | Richard Tapper (Editor) | | ISBN: | 1860648045 | | Format: | Handover | | Publish Date: | June, 2005 | | |  |  |  | | | | | | | Book Review | | | |
Review
"This anthology...seems to me to be an excellent place to start learning!" --Charlotte Sjoholm, Film International
The essays provide a cultural, social, economic and political context for the films and their makers...
-Film magazine
An indispensable book for contextualising some of the most exciting movies being made.
-Sight & Sound
Review
"This anthology...seems to me to be an excellent place to start learning!" --Charlotte Sjoholm, Film International
The essays provide a cultural, social, economic and political context for the films and their makers...
-Film magazine
An indispensable book for contextualising some of the most exciting movies being made.
-Sight & Sound
Review
"This anthology...seems to me to be an excellent place to start learning!" --Charlotte Sjoholm, Film International
The essays provide a cultural, social, economic and political context for the films and their makers...
-Film magazine
An indispensable book for contextualising some of the most exciting movies being made.
-Sight & Sound
Book Description
Iranian cinema is today widely recognized not merely as a distinctive national cinema, but as one of the most innovative in the world. This international stature both fascinates Western observers and appears paradoxical in line with perceptions of Iran as anti-modern. The largely Iranian contributors to this book look in depth at how Iranian cinema became a true ‘world cinema’. From a range of perspectives, they explore cinema’s development in post Revolution Iran and its place in Iranian culture.
About the Author
Richard Tapper is Professor of Anthropology at the School of Oriental and African Studies, London.
The New Iranian Cinema: Politics, Representation and Identity FROM THE PUBLISHER Iranian cinema is today widely recognized not merely as a distinctive national cinema, but as one of the most innovative in the world. This international stature both fascinates Western observers and appears paradoxical in line with perceptions of Iran as anti-modern. The largely Iranian contributors to this book look in depth at how Iranian cinema became a true 'world cinema'. From a range of perspectives, they explore cinema's development in post Revolution Iran and its place in Iranian culture.
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