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The item The new Iranian cinema : politics, representation and identity, edited by Richard Tapper represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in European University Institute. This item is available to borrow from 1 library branch.

About The New Iranian Cinema

Contributor Tapper, Richard. Language eng.

Publication London New York, I. Tauris Publishers, Extent xv, pages. Isbn Library Locations Map Details. Badia Fiesolana Borrow it. Removing the audience to a remote village in Gilan and subjecting it to the local idiom makes possible experiments with other shifts in power and authority.

By drawing upon the work of critics such as Kristeva and Luce Irigaray, whose theories of subjectivity have brought together elements of linguistics, psychoanalysis and gender studies, I hope to show how the film explores the intersections of gender, subjectivity, ethnicity and language in an attempt to carve out a space in which to posit new ways of seeing, hearing and perceiving the self and the other.

In other words, by what natural or ideological imperative or historical exigency does the politics of nationalism become the binding and overarching umbrella that subsumes other and different political temporalities? This alternative has resonances of binarisms of self and other which the film otherwise problematizes. Throwing Stones at him is symbolic of her attempt to keep the self intact and uncontaminated; so also is the forced bath she gives him in order to make him white.

In his Mimert'r and Alrerity, Michael Taussig observes: Pulling you this way and that, mimesis plays this trick of dancing between the very same and the very different. An impossible but necessary, indeed an everyday affair, mimesis registers both sameness and difference, of being like, and of being Other.

Iranian cinema

Creating stability from this instability is no small task, yet all identity formation is engaged in this habitually bracing activity in which the issue is not so much staying the same, but maintaining sameness through alterity. It is this fear that prompts her to get up and run away when Bashu wakes up.

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Nukuneb zugbal can jar: bimn bamoyz'? Sian ki isi, la! Every human being has a name. Anyone with no name is a wild. All those things that he is not and does not have move him further and further away from the human race.

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Her conclusion that only monsters lack names brings into focus the centrality of the process of naming in human socialization: to have a name is to be integrated into a family and social structure. When she asks Bashu what he is called and is met once again with silence, she proceeds to initiate him into the process of naming and identification. With this assertion she confirms the supremacy of the name—of- the—father in the symbolic: her own entry into the linguistic and the social order was mediated through the authority of the father.

The sense of distance in her utterance also makes it possible for her to usurp the position of authority she has just acknowledged as belonging to the father.

marking gender - THE NEW IRANIAN CINEMA Politics...

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The new Iranian cinema : politics, representation and identity - European University Institute

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