Table of Contents

Acknowledgements Introduction 1. The Iranian New Wave (Mowj-e No) a. Recognition of and challenging Mowj-e No 2. The Internal Factors a. Cinema and the Negotiation of Modernity in Iran b. The Emergence of National Cinema c. Nativism vs. Westoxication (Gharbzadegi) d. The Enablement and Obstructionism of the State e. The Mechanisms of Censorship f. The Establishment of Cultural Institutions and Film Centres 3. Looking for an Alternative Cinema in Iran a. Status of Critical Film Discourse in the 1960s Iran b. Intellectual Cinema and Challenging Filmfarsi c. New Wave, the Lost Identity and Manifestation of Utopian Cinema 4. New Wave and the Literary Tradition a. Adaptation from Persian Classical Literature b. Later Fantasy and Folktales c. Interaction between Mowj-e No and Modern Literature 5. The External Influences a. The Footprint of Italian Neorealism b. The Global Impact of the French Nouvelle Vague c. The French Nouvelle Vague and the Iranian Mowj-e No d. Freydoun Hoveyda, the Auteur Theory and Iran’s New Wave 6. The Forerunners of the New Wave Cinema in Iran a. Ebrahim Golestan and Writing with a Camera b. The Legacy of Farrokh Ghaffari c. Fereydoun Rahnema and his Self-Reflexive Cinema 7. New Wave Successors and New Film Aesthetics a. Formalistic Approach in Mowj-e No b. Social Realism and Street Film Genre Afterword Bibliography Index

Promotional Information

An historical and analytical study of the Iranian New Wave Cinema (Mowj-e No) as an artistic and intellectual movement that came to its best early productions between 1958 and 1978.

About the Author

Parviz Jahed is an independent scholar based in the UK. He is also a film critic, film researcher, filmmaker and lecturer in film studies. He is the editor-in-chief of Cine-Eye, a UK based film journal focused on independent and art cinema, and editor of the Directory of World Cinema: Iran (2012).

Reviews

Parviz Jahed provides a fascinating account of the development of Iranian New Wave Cinema, tracing both the local factors behind its emergence and the international influences informing the aesthetic richness of the films. Importantly, Jahed considers how New Wave filmmakers were both hindered and helped by the state and assesses the critical discourses that emerged as a small group of filmmakers attempted to challenge popular cinematic conventions in Iran in the 1960s to establish an intellectual, more artistic cinematic practice.
*Michelle Langford, Associate Professor, University of New South Wales, Sydney, Australia*