Iranian Cinema and Philosophy: Shooting Truth

Hardcover | December 15, 2011

byFarhang Erfani

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Iranian films are kept at a distance, as 'other,' different and exotic. While interest in this cinema is growing, it is rarely engaged theoretically. This book takes such films as Kiarostami's Taste of Cherry, Meshkini's The Day I Became a Woman, and Ghobadi's Turtles Can Fly, as philosophically innovative. Each chapter is devoted to analyzing a single film, philosopher, and aesthetic question to challenge traditional assumptions of film theory.

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Iranian films are kept at a distance, as 'other,' different and exotic. While interest in this cinema is growing, it is rarely engaged theoretically. This book takes such films as Kiarostami's Taste of Cherry, Meshkini's The Day I Became a Woman, and Ghobadi's Turtles Can Fly, as philosophically innovative. Each chapter is devoted to a...

Farhang Erfani is an assistant professor of Philosophy at the American University and a research associate at the Nelson Mandela Metropolitan University. He is the author of Aesthetics of Autonomy and his research specializes in continental philosophy, political theory, and aesthetics.

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Format:HardcoverDimensions:242 pages, 9.01 × 5.62 × 0.76 inPublished:December 15, 2011Publisher:Palgrave MacmillanLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0230339115

ISBN - 13:9780230339118

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Table of Contents

How Orphans Believe: Deleuze, National Cinema, and Majidi’s The Color of Paradise * "What are filmmakers for in needy times?" On Heidegger and Kiarostami’s Taste of Cherry * Committed Perception: Merleau-Ponty and Children of Heaven * Regarding You: Lacanian Gaze and Ethics in Kiarostami’s Close-up * Stolen Jouissance: Lacan, Feminism, and Meshkini’s The Day I Became a Woman * Deafening Silence: Bahman Ghobadi’s Turtles Can Fly and Marginal Politics

Editorial Reviews

'A fascinating piece of work which brings the insights of Continental philosophy to bear on Iranian cinema and—perhaps more importantly—brings Iranian cinema to bear on those insights.' - Simon Critchley, Hans Jonas Professor of Philosophy, New School for Social Research'Erfani's important and informative book makes a stunning contribution to the relatively new field of film and philosophy. In it, Iranian cinema and western philosophy peer into each other like facing mirrors, finding there both confirmation and disorientation. Lucid and sophisticated, this work will have wide appeal to those interested in cinema and contemporary theory.' - Joan Copjec, professor of English, Comparative Literature, and Media Study, University at Buffalo