Under the Skin of Society: Rakhshan Banietemad’s Social History of Post-revolutionary Iran

M. Wittmann
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Abstract

Surveying Banietemad’s films, beginning with Nargess, Wittman argues that Banietemad’s urban ballads not only show “the people who are missing,” uncovering suppressed, silenced voices; they also illustrate how ordinary people are organizing themselves into communities, networks, and grassroots move- ments. He further asserts that, in doing so, the films expose the emptiness of the official claims made by the Islamic Republic of Iran. At the same time, they desta- bilize stereotypes regarding Iran emerging outside of the country, especially the image of “fatalistic Muslim masses,” “the passive poor”, and the “disoriented marginal.”
在社会的表皮之下:Rakhshan Banietemad的后革命伊朗社会历史
惠特曼考察了巴尼特马德的电影,从纳吉斯开始,他认为巴尼特马德的城市民谣不仅展示了“失踪的人”,揭示了被压抑、沉默的声音;它们还说明了普通人如何将自己组织成社区、网络和基层运动。他进一步说,这样一来,这些影片暴露了伊朗伊斯兰共和国所作官方声明的空洞。与此同时,他们也打破了国外对伊朗的刻板印象,尤其是“宿命的穆斯林大众”、“被动的穷人”和“迷失方向的边缘人”的形象。
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