Iranian Cinema and Philosophy: Shooting Truth by Farhang ErfaniIranian Cinema and Philosophy: Shooting Truth by Farhang Erfani

Iranian Cinema and Philosophy: Shooting Truth

byFarhang Erfani

Hardcover | December 15, 2011

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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.
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.
Title:Iranian Cinema and Philosophy: Shooting TruthFormat:HardcoverDimensions:242 pagesPublished:December 15, 2011Publisher:Palgrave Macmillan USLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0230339115

ISBN - 13:9780230339118


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