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020 _a9783031692727
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024 7 _a10.1007/978-3-031-69272-7
_2doi
050 4 _aPN1600-3307.2
072 7 _aAP
_2bicssc
072 7 _aPER004000
_2bisacsh
072 7 _aAT
_2thema
100 1 _aAntic, Mara.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_985664
245 1 0 _aCinematic Homelands
_h[electronic resource] :
_bThe Cultural and Gendered Imaginaries of Iranian Diasporic Women’s Filmmaking /
_cby Mara Antic.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer Nature Switzerland :
_bImprint: Palgrave Macmillan,
_c2024.
300 _aIX, 223 p.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 _aChapter 1. Introduction -- Chapter 2. The cinepoetry of Shirin Neshat’s Women Without Men: Female histories and the cinematic space of the Garden -- Chapter 3. Transnational Iranian poetics of resistance: The Green Movement and Iranian women’s agency in Sepideh Farsi’s Red Rose -- Chapter 4. The transnational cultural space of Iranian youth: Diasporic fantasy in Maryam Keshavarz’s Circumstance -- Chapter 5. Transgressing boundaries: The politics of resignification and Iranian diasporic imaginary in Ana Lily Amirpour’s A Girl Walks Home Alone at Night -- Chapter 6. Beyond diaspora: The spaces in-between and the cinematic self in Desiree Akhavan’s Appropriate Behaviour.
520 _aThis book maps an emerging cycle of films made by Iranian diasporic women filmmakers and produced outside of Iran, focusing on five significant examples: Shirin Neshat’s Women Without Men (2009), Sepideh Farsi’s Red Rose (2014), Maryam Keshavarz’s Circumstance (2011), Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2014) and Desiree Akhavan’s Appropriate Behaviour (2014). These films speak to the emergence of feminist concerns surrounding gender relations, female subjectivity and sexuality in diasporic filmmaking. The book intends to show how the body of recent Iranian diasporic women’s films demonstrates a substantial shift within the existing exilic and diasporic paradigm, requiring analysis of intersectional relations not only between ethnicity, culture and nationality, but also gender and sexuality. Attending closely to the vibrant feminist film culture generated by Iranian women in diaspora, this book aims to interrogate the diversity of women’s filmmaking practices and their role in shaping new representations of female subjectivity and the diasporic condition. Mara Antic is a Teaching Associate in the School of Media, Film and Journalism at Monash University in Melbourne, Australia. Her research interests include feminist theory and women’s filmmaking with an emphasis on representations of gender, sexuality, and cross-cultural identity in contemporary transnational cinemas. Her work has appeared in Feminist Media Studies, The European Journal of Life Writing and MAI: Feminism and Visual Culture.
650 0 _aMotion pictures.
_958496
650 0 _aEmigration and immigration.
_958113
650 0 _aFeminism.
_91785
650 0 _aFeminist theory.
_961151
650 1 4 _aGlobal Film and TV.
_969726
650 2 4 _aClose Readings in Film and TV.
_972990
650 2 4 _aDiaspora Studies.
_966472
650 2 4 _aFeminism and Feminist Theory.
_967739
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031692710
776 0 8 _iPrinted edition:
_z9783031692734
776 0 8 _iPrinted edition:
_z9783031692741
856 4 0 _uhttps://doi.org/10.1007/978-3-031-69272-7
912 _aZDB-2-LCM
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