Iranian cinema has had one of the most fascinating success stories in world cinema over the last twenty years, with critics in Europe and North America hailing it as an alternative to the homogenising global influence of mainstream Hollywood cinema. Christopher Gow examines how the success of this cinema and the films of its foremost proponent, Abbas Kiarostami, can be accounted for by the extent to which they fit into pre-established, seminal notions of 'art cinema'. Gow also seeks to expand our understanding of post-revolutionary Iranian cinema by exploring the close links between the New Iranian Cinema and émigré Iranian filmmaking, from the German films of Sohrab Shahid Saless to Vadim Perlman's Oscar-nominated exploration of the Iranian experience of exile in House of Sand and Fog. The book reveals how this large and dispersed émigré Iranian cinema challenges our understanding of New Iranian Cinema itself, as well as concepts of national cinema more generally. 'Gow's book valuably enhances our understanding of the cinematic efflorescence that produced Kiarostami, Makhmalbaf, Panahi and others by expanding its boundaries both temporally and geographically.' - Godfrey Cheshire, film critic and filmmaker
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Christopher Gow is currently a tutor in the Department of Adult and Continuing Education at the University of Glasgow. He did his postgraduate research into New Iranian Cinema and émigré Iranian filmmaking at the School of Oriental and African Studies and at the University of Warwick. From Iran to Hollywood and Some Places In-Between is his first major publication.
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Hardcover. Condition: New. International Library of Iranian Studies; The New Iranian Cinema has had a fascinating success story in world cinema and critics have hailed Iranian films as alternatives to the homogenizing global influence of mainstream Hollywood cinema. Drawing on seminal ideas of âart cinema,â Christopher Gow examines how the success of this cinema and the films of Abbas Kiarostami, its foremost proponent, can be accounted for by the extent to which they fit into a pre-established notion of art cinema. Gow also expands understanding of post-revolutionary Iranian cinema by examining the links between the New Iranian Cinema and à migrà Iranian filmmaking, from the uncompromising German films of Sohrab Shahid Saless, to Vadim Perlman's exploration of the Iranian experience of exile in the Oscar-nominated House of Sand and Fog. He reveals how this large and dispersed à migrà Iranian cinema challenges our understanding of New Iranian Cinema itself and of national cinema in general. Seller Inventory # 94749