Title
Author
Documentary Iran in the 1950s: Village Films, Akhbār-i Irān series, & the Cold War Story of US Government’s Documentary Diplomacy
I have researched the decade-long Syracuse Group’s documentary operation in Iran extensively for my Ph.D….
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