Title
Author
Internet Cinema: A Cinema of Embodied Protest
This article is about an emergent form of cinema in whose production and propagation most…
Horror and Authority in Farrokhzad’s Khānah Siyāh ast
There is no shortage of research on Farrokhzad’s Khānah Siyāh ast as the solid early canon of…
Hamoun
Hamid Hamoun, a middle-aged Iranian sales agent and writer/intellectual in a conflicting relationship with his…
A
- Abadanis
- Abbas Kiarostami| ‛Abbās Kīyārustamī| عباس کیارستمی
- Affective Listening
- Ali Hatami | ‛Alī Hātamī | علی حاتمی
- Alternative Cinema of Pre-Revolutionary Era
- An Overview of Apartment Dramas in Iranian Cinema after the Green Movement
- Apartment Dramas
- Art Cinema
- Asghar Farhadi | Asghar Farhādī | اصغر فرهادی
- Az Karkhah tā Rāyn
- A Comparative Study Concerning the First Two Films Directed by Iranian Women
- A Dragon Arrives! (2016)
- A Girl Walks Home Alone at Night
- A Silenced Historical Testimony
- A Simple Event (1973)
- A Simple Incident
B
C
- Celestial Crossings: Reception of Tahirih Qurratu’l-‘Ayn on the Indian Subcontinent
- Certified Copy
- Children’s Films
- Cinematic Male-Female Relationships
- Cinematic Mise-en-scène
- Cinema Dar Qāb Tambr
- Cinema Rex Fire
- Class Production of Gendered Space.
- Close-Up (1990)
- Comic Movies
- Connections Between Indian and Iranian Cinem
- Crime Genre in Iranian Cinema
- Crime Thriller Genre
- Cult for Context: The Curious Case of Mārmulak (The Lizard / Kamal Tabrizi, 2003)
D
- Dariush Mehrjui | Dāryūsh Mihrjūyī | داریوش مهرجویی
- Davandah
- Documentary Films
- Documentary Iran in the 1950s: Village Films, Akhbār-i Irān series, & the Cold War Story of US Government’s Documentary Diplomacy
- Documenting Iran in the 1950s: Village Films,
- Drama Movies
- Dukhtar-i Lur
- Dāyarah-ʼi Mīnā
- Dāyarah-ʼi Zangī
- Dū Zan
E
F
- Farrokh Ghaffari | Farrukh Ghaffārī | فرخ غفاری
- Farrukh Ghaffārī
- Fereydoun Rahnema Between Archaism and Modernism Iran’s Son is Unaware of His Mother
- Fereydoun Rahnema | Farīdūn Rahnamā | فریدون رهنما
- Fereydoun Rahnema’s Postmodernist Approach in Siavash in Persepolis
- Fereydun Gole
- Fereydun Goleh | Farīdūn Gūlah | فریدون گُله
- Filming Locations
- Film Aesthetics
- Film Criticism
- Film Dubbing
- Film Production at Kanun-i Parvarish-i Fikry
- Film Schools and Education
- Film-Farsi: Iranian Popular Cinema, Modernity, and the Everyday Life
- From Golden City to Felestin: The Onomastics of Cinema Halls in Tehran
- From Mehrin Negar to Tara: The Evolution of Female Protagonists in Bahram Beyzaie’s “The Snake King” (1966) and “The Ballad of Tara” (1978-9)
- From The Lor Girl to Bride of Fire:Tribal Women in Iranian Cinema
- Furuzan
- Fīlmfārsī
H
- Hamoun
- Hasan-Kachal
- Hauntologies of the Present: Notes on Politics of Friendship in Férydoun Rahnéma’s Modernism
- Homayoun Emami, Documentary Cinema
- Home in Cinema and Women at Home: A Comparative Study of Pre- and Post-Revolutionary Iranian Cinema from 1969 to 1999
- Horror and Authority in Farrokhzad’s Khānah Siyāh ast
- Horror & Authority in Farrokhzad’s Khānah Siyāh ast
- Hossein Alizadeh’s Film Scores
- How Frightening Your Makings: Epidemics, Mass Metamorphoses, and Bodies of the Iranian New Wave Cinema
- Hyper-realism in digital films by Abbas Kiarostami:
- Hājī Āghā Āktur-i Sīnamā
- Hāmūn
I
J
K
M
- Mahdi (Rusi Khan) Ivanov
- Majid Majidi
- Male-Female Relationship in Post-Revolutionary Iranian Cinema
- Man Tarānah 15 sāl dāram
- Marg-i Yazdgird
- Masoud Kimiai | Mas‛ūd Kīmīyāyī | مسعود کیمیایی
- Maybe Some Other Time
- Maybe Some Other Time (1988)
- Mehdi Missaghieh | Mihdī Mīsāqīyyah | مهدی میثاقیه
- Mise en abym in Iranian movies
- Modernism of Underdevelopment in Iranian Pre-revolution Cinema
- Mohsen Makhmalbaf
- Mohsen Makhmalbaf | Muhsin Makhmalbāf | محسن مخملباف
- Morteza Hannaneh | Murtizā Hannānah | مرتضی حنانه
- Movie Genres
- Movie Theatres
- Mughul hā
- Multilinguality in Iranian Cinema
- Mushegh Sarvarian | Mūshiq Sarvarī (Sarvarīyān) | موشق سروری
N
P
- Parastūhā bih lānah bar mīgardand
- Parviz Kimiavi
- Parviz Kimiavi | Parvīz Kīmiyāvī | پرویز کیمیاوی
- Parviz Sayyad | Parvīz Sayyād| پرویز صیاد
- Pasts and Presents of Exchange and Collaboration (Lecture: “Salaam Mumbai”: Pasts and Presents of Exchange and Collaboration Between Indian and Iranian Cinemas)
- PetroCinema
- Poetic Pictures: The Feminazation of Iranian Cinema
- Postmodern storytelling in Iranian cinema: Shahram Mokri films
- Post-revolutionary cinema
- Post-Revolutionary Masculinities
- Precarity and Possibility: The Labor of Underground Video Dealers in Iran
- Public Taste in Films
R
S
- Samira Makhmalbaf | Samīrā Makhmalbāf | سمیرا مخملباف
- Samuel Khachikian | Sāmūʼil Khāchīkiyān | ساموئل خاچیکیان
- Sardar Sager
- Sartorial Islamic Baroque
- Self-reflexive cinema
- Shab-i Qūzī
- Shab-nishīnī dar jahannam
- Shirin
- Shāzdah Ihtijāb
- Silent Cinema
- Sinimā-yi kūdak
- Sinimā-yi Īrān va mardānigī
- Sinimā-yi Īrān va zanān
- Sirāydār
- Sīnamā-yi mawj-i naw
- Sīnamā-yi nāt̤iq
- Sohrab ShahidSales
- Sohrab Shahid-Saless | Suhrāb Shahīd Sālis | سهراب شهید ثالث
- Sport in Cinema
- Suhr’b Shah’d Slis
- Sultān-i Qalb’hā (king of the hearts)
- Sīb
- Sīnamā– yi difāʿ–i muqaddas
- Sīnimā-yi Inqilābī
- Sūtah’dilān
T
- Tabī‛at-i bījān
- Tahmineh Milani
- Tahmineh Milani | Tahmīnah Mīlānī | تهمینه میلانی
- Talā-yi surkh
- Tangnā
- Tangsīr
- Taste of Cherry
- Tawqī
- Tehran in Iranian Post-Revolutionary Films
- Tehran’s Universal Studios
- The Anthropological Unconscious of Iranian Ethnographic Films
- The Cinematic and Cultural legacy of Farrokh Ghaffari
- The Cold War Story of US Government’s Documentary Diplomacy
- The International Reception of Iranian cinema
- The Invincible Six
- The Lost Love
- The Runner
- The Soundscape in Diasporic Iranian Cinema
- The Wind Will Carry Us
- Through Olive Trees
- Tracing the Tooba Character in Rakhshan Banietemad’s Cinema
- Travelers (1991)
- T‛am-i Gīlās