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Peripherality and Humor in the Iranian Art Film.
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![loading](/sites/all/modules/hf_eds/images/loading.gif)
- Author(s): Lippard, Chris
- Source:
Iranian Studies; Nov2017, Vol. 50 Issue 6, p917-944, 28p- Subject Terms:
- Source:
- Additional Information
- Subject Terms:
- Abstract: This paper examines a range of post-revolutionary Iranian art films, mostly those watched primarily outside the country via festival screenings, in the context of the relationship between the tropes of peripherality and humor. It argues for the significance and complexity of both terms in the context of this cinema and of the global image of Iran and its peoples. Having examined a kind of humor based on the geographic periphery, specifically derived from relationships between technology, car, and camera, it concludes by reflecting on the advent of new technologies, and social constraints and opportunities in the Iranian art cinema today. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Iranian Studies is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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