[csaa-forum] FW: Iranian cinema seminar

[Buettner, Angi]

> From: 	James Donald
> Sent: 	Friday, October 7, 2005 15:33 PM
> To: 	Buettner, Angi; k.arnold at unsw.edu.au; j.beale at unsw.edu.au; p.bell at unsw.edu.au; j.brooks at unsw.edu.au; bm.costello at unsw.edu.au; d.davis at unsw.edu.au; r.dawkins at unsw.edu.au; gregd at unsw.edu.au; j.donald at unsw.edu.au; g.fuller at unsw.edu.au; s.goldfish at unsw.edu.au; clare.grant at unsw.edu.au; r.harley at unsw.edu.au; g.hawkins at unsw.edu.au; o.khoo at unsw.edu.au; g.kouvaros at unsw.edu.au; m.langford at unsw.edu.au; j.mccallum at unsw.edu.au; debs.mccann at unsw.edu.au; j.miller at unsw.edu.au; m.mitchell at unsw.edu.au; m.mumford at unsw.edu.au; a.murphie at unsw.edu.au; a.rothwell at unsw.edu.au; e.scheer at unsw.edu.au; s.shaner at unsw.edu.au; y.sone at unsw.edu.au; d.spurgeon at unsw.edu.au; l.trahair at unsw.edu.au; "bryoni.trezise at student.unsw.edu.au.b.ashcroft"@unsw.edu.au; r.bell at unsw.edu.au; j.bennett at unsw.edu.au; kbowrey at bigpond.net.au; a.brewster at unsw.edu.au; e.burke at unsw.edu.au; J.Chan at unsw.edu.au; d.delfavero at unsw.edu.au; 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> Subject: 	Iranian cinema seminar
> 
> UNSW Media Film & Theatre Seminar
> Wednesday 12 October 2005
> Webster Building 327
> 
> 
> Allegory and the aesthetics of 'becoming-woman' in Iranian cinema
> 
> 
> 
> Since the Islamic Revolution, images of women in Iranian cinema have been circumscribed by strict censorship codes, largely preventing them from playing active roles. This paper will address the concept of 'becoming-woman' in Iranian cinema through a detailed discussion of Marziyeh Meshkini's film The Day I Became a Woman>  (2000). This highly allegorical film invites at least two levels of interpretation. The first and most easily accessible one is literal and superficial, depending upon the narrative logic of cinematic images and signifiers, which emphasise film's capacity for verisimilitude. On this level, I will argue, the concept of 'becoming woman' is represented in terms of limits and borders, and the question of women's mobility and agency is therefore posed as l> imited at once by the structural logic of narrative cinema and by the limitations imposed upon Iranian films by Islamic censorship. I will call this level 'literal,' entailing processes of representation and therefore may be most easily accessed through an approach to cinema informed by semiotic and psychoanalytic film theories. Furthermore, this literal level, which asks us to view the film chronologically, presents a conception of time dependent upon movement, but ironically, a movement that has its limits and is in a sense presented as petrified and timeless. In contrast, I wish to argue that this film also invites a reading that is much more complex, an allegorical reading that is not dependent upon narrative logic. It is through this multi-layered allegorical level that the aesthetic or affective, rather than representational or semantic elements generate meaning, thus enabling the film to present an aesthetic of 'becoming-woman' that is at once unbounded by social and cinematic convention and to some extent elides censorship of the female form in Iranian cinema by forming a direct, affective connection between film and viewer.
> 
> 
> 
> Michelle Langford is lecturer in Film Studies in the School of Media, Film and Theatre at the University of New South Wales.  Her book on the cinema of Werner Schroeter will be published in 2006.
> 
> -- 
> Dr James Donald
> Associate Dean (Education), Faculty of Arts and Social Sciences
> Professor of Film Studies, School of Media, Film and Theatre
> University of New South Wales
> Sydney
> NSW 2052
> Australia
> 
> Telephone (02)9385 4858
> Mobile             0433 126445
> Facsimile            (02)9662 2335
> 
> International
> Telephone     +612 9385 4858
> Mobile            +61433 126445
> Facsimile          +612 9662 2335
> 
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>