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Displaced Allegories: Post-Revolutionary Iranian Cinema By Negar Motahedeh (Ph.D. '98) Duke University Press, 2008 Following the 1979 Iranian Revolution, Iran's film industry, in conforming to the Islamic Republic's system of modesty, had to ensure hat women on-screen were veiled from the view of men. This prevented Iranian filmmakers from making use of the desiring gaze, a staple cinematic system of looking. In Displaced Allegories, Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found creative ground not in the negation of government regulations but in the camera's adoption of the modest, averted gaze. In the process, the filmic techniques and cinematic technologies were gendered as feminine and the national cinema was produced as a woman's cinema. | |||||||||||||
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