Cinematic Homelands
The Cultural and Gendered Imaginaries of Iranian Diasporic Womenâs Filmmaking
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Cinematic Homelands
The Cultural and Gendered Imaginaries of Iranian Diasporic Womenâs Filmmaking
About this book
This book maps an emerging cycle of films made by Iranian diasporic women filmmakers and produced outside of Iran, focusing on five significant examples: Shirin Neshat's Women Without Men (2009), Sepideh Farsi's Red Rose (2014), Maryam Keshavarz's Circumstance (2011), Ana Lily Amirpour's A Girl Walks Home Alone at Night (2014) and Desiree Akhavan's Appropriate Behaviour (2014). These films speak to the emergence of feminist concerns surrounding gender relations, female subjectivity and sexuality in diasporic filmmaking. The book intends to show how the body of recent Iranian diasporic women's films demonstrates a substantial shift within the existing exilic and diasporic paradigm, requiring analysis of intersectional relations not only between ethnicity, culture and nationality, but also gender and sexuality. Attending closely to the vibrant feminist film culture generated by Iranian women in diaspora, this book aims to interrogate the diversity of women's filmmaking practices and their role in shaping new representations of female subjectivity and the diasporic condition.
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Table of contents
- Cover
- Front Matter
- 1. Introduction
- 2. The Cinepoetry of Shirin Neshatâs Women Without Men: Female Histories and the Cinematic Space of the Garden
- 3. Transnational Iranian Poetics of Resistance: The Green Movement and Iranian Womenâs Agency in Sepideh Farsiâs Red Rose (2014)
- 4. The Transnational Cultural Space of Iranian Youth: Diasporic Fantasy in Maryam Keshavarzâs Circumstance
- 5. Transgressing Boundaries: The Politics of Resignification and Iranian Diasporic Imaginary in Ana Lily Amirpourâs A Girl Walks Home Alone at Night
- 6. Beyond Diaspora: The Spaces in-between and the Cinematic Self in Desiree Akhavanâs Appropriate Behaviour
- 7. Instead of Conclusion: Diasporic Indeterminacies
- Back Matter