• Features
  • Festival Reports
  • Book Reviews
  • CTEQ
  • Great Directors
  • Great Actors
  • Special Dossiers
  • Past Issues
  • Podcast
  • Support us on Patreon
Search
Senses of Cinema logo
  • Dossiers
  • Features
    Random
    • Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World

      Keyvan Manafi
      October 2022
      Feature Articles
    Recent
    • “A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45

      Tara Lomax
      October 2022
    • The Larrikin Girl: Challenging archetypes in Australian cinema

      Mark Freeman & Eloise Ross
      October 2022
    • Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers

      Joy McEntee
      October 2022
    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
  • Interviews
    Random
    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      Keyvan Manafi
      July 2022
      Interviews
    Recent
    • We Learn by Making: A Conversation with Alexandra Cuesta

      Andrew Northrop
      October 2022
    • Love Dog: Conversation with Bianca Lucas

      Maria Giovanna Vagenas
      October 2022
    • The Plains: Conversation with David Easteal

      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
  • Great Directors
    Random
    • Chabrol, Claude

      Keyvan Manafi
      October 2002
      Great Directors
    Recent
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
    • Dwoskin, Stephen

      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
    • Desai, Manmohan

      Darragh O’Donoghue
      May 2022
    • Curtiz, Michael

      Jeremy Carr
      January 2022
  • Great Actors
    Random
    • Caine, Michael

      Keyvan Manafi
      May 2022
      Great Actors
    Recent
    • Divine

      Jacob Agius
      October 2022
    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
  • Festival Reports
    Random
    • Vancouver International Film Festival 2017

      Vancouver 2016: The Daughters Generation

      Keyvan Manafi
      March 2017
      Festival Reports
    Recent
    • Skies Over and Caves Under Kutaisi: Kutaisi International Short Film Festival

      Levan Tskhovrebadze
      October 2022
    • NYFF 60: Hide and Seek

      Nolan Kelly
      October 2022
    • Budapest Classics Film Marathon

      Andrew Northrop
      October 2022
    • Setting the World Ablaze: Notes from the 30th Curtas Vila do Conde International Film Festival

      Susana Bessa
      October 2022
    • The 75th Locarno Film Festival: Happy Birthday and Many Happy Returns

      Jaimey Fisher
      October 2022
    • (Fist) Bump in the Night at Fantasia 2022

      Jake Pitre
      October 2022
  • Book Reviews
    Random
    • article placeholder

      Film Theory in Translation: Chinese Films in Focus: 25 New Takes edited by Chris Berry

      Keyvan Manafi
      April 2004
      Book Reviews
    Recent
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
  • CTEQ
    Random
    • The Host

      The Host: The Monster Emerging From the han

      Keyvan Manafi
      September 2013
      CTEQ Annotations on Film
    Recent
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
  • Support Senses
  • About Senses of Cinema
    • Contact Us
    • Staff
    • Thank you to our Patrons
    • Style Guide
  • Latest
  • Past Issues
  • World Poll
  • Podcast
  • Advertisers
  • Proposals
  • Call for Submissions
  • Shop
  • Subscribe
more articles... more articles... more articles... more articles... more articles...

Tagged Iranian cinema

Home
Iranian cinema

The Ethics of the ‘Listening Eye’: Exploring the Critical Excesses of Iranian ‘Social Films’

Keyvan Manafi
September 2013
Feature Articles
‘Social films’ (Film-e ejtema'i), understood in Iranian film reviews and journalistic discourse as socio-politically committed films characterized by realist aesthetics and mode of narration, have been a major ...

Walls and Mirrors: Iranian Films at the 2012 Melbourne International Film Festival

Adrian Danks
July 2012
2012 MIFF Dossier
The Melbourne International Film Festival (MIFF) has showcased the New Iranian Cinema since a special focus in 1993 called “Spotlight Iran”. It has routinely highlighted particular peaks and trends, and has con...

Hamid Naficy, A Social History of Iranian Cinema

Michelle Langford
June 2012
Book Reviews
Volume 1: The Artisanal Era, 1897–1941 and Volume 2: The Industrializing Years, 1941–1978 As I turn over the last page of volume two of Hamid Naficy’s A Social History of Iranian Cinema, I hunger for more a...

A Year of Triumph and Tragedy: Iranian Cinema and the First Iranian Film Festival Australia (IFFA)

Michelle Langford
December 2011
Festival Reports
The inaugural Iranian Film Festival Australia kicked off in Brisbane on 4 August 2011 in spectacular fashion with a sell-out screening of Asghar Farhadi’s acclaimed new film Jodaeiye Nader az Simin (A Separatio...

Displaced Allegories: Post-Revolutionary Iranian Cinema by Negar Mottahedeh

Michelle Langford
September 2009
Book Reviews
article placeholder

“Caught Between Poetry and Censorship”: The Influence of State Regulation and Sufi Poeticism on Contemporary Iranian Cinema

Rosa Holman
November 2006
Film & History Conference Papers
Since the early 1990s, contemporary Iranian cinema, with its culture of auteurism and poetic consciousness, has continued to inspire lively critical discourse and popular acclaim. Recent scholarship has ten...

Read the Senses of Cinema World Poll 2021

PART 1

PART 2

PART 3

PART 4

PART 5

PART 6

PART 7

PART 8

Join Us

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

Staff Members

Editors:

César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

Contributing Partner

Donate to Senses

 

Click here to make a donation. If you are an Australian resident, any donations over $2 are tax deductible.

 

Search

  • About Senses of Cinema
  • Contact Us
  • Privacy
  • Proposals
  • Advertisers
  • Staff