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Directory of World Cinema: Iran 2
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Price £40, $57
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ISBN 9781783204700
Paperback 300 pages
240 x 170
Published June 2015
Imprint: Intellect
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Books by Parviz Jahed
Books in Film Studies
Other books in this series

Edited by Parviz Jahed
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Working at the intersection of religion and evershifting political, economic, and social environments, Iranian cinema has produced some of the most critically lauded films in the world today. The first volume in the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points, and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, New Wave, war film, art house film, and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema, and fans and aficianados of Iranian film.
Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.


Parviz Jahed is a freelance film critic, journalist, filmmaker, and lecturer in film studies, scriptwriting, and film directing.
'Praise for the first book Successfully maps the long history of creativity, intellectualism and imagination of [Iran]. This book makes an important contribution to the area of Iranian cinema and film and is recommended to those who want to know more about Iran and its extraordinary cinema' – Media International Australia, Arezou Zalipour

'Iran 2 continues the examination of Iranian cinema begun with the 2012 first edition. As he did in that earlier edition, editor and filmmaker Jahed covers a film of the year, interviews a prominent filmmaker, indexes the films discussed ("Filmography"), lists valuable websites ("Iranian Cinema Online"), and provides recommended readings in a list that expands the one compiled several years ago. The emphasis of the treatment here is mainly historical, and covers the development of Iranian film from silent film to the postrevolutionary era. Additionally, some thematic essays discuss depictions of children, war, and diversity in Iranian cinema. Iran 2 focuses on directors and types of cinema in the national oeuvre, with a short bow to thematic analysis in a chapter on the image of women in Iranian film. Specifically, short chapters on seven directors (Farrokh Ghaffari, Bahram Beyzaie, Sohrab Shahid-Sales, Amir Naderi, Rakhshan Bani-Etemad, Majid Majidi, and Asghar Farhadi) precede others dealing with various types of Iranian film—documentary, social drama, crime thriller, animation, comedy, political films, underground films, and diasporic cinema. The two titles in the publisher's series complement each other and, taken together, are highly useful overviews of Iranian cinema for academic and public libraries.' – C. Hendershott, Choice

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