“Modes of Expression not Subject to the Law of Male Desire”: Considering the Role of Voice-over and Enunciation in the Work of Rakhshan Banietemad

Considering the Role of Voice-Over and Enunciation in the Work of Rakhshan Banietemad.” Holman argues that voicing encompasses not only the aesthetic practices associated with the literal, acoustic voice in Banietemad’s films, but also the process of inscribing authorship. Referencing feminist film scholarship of the 1980s concerning voice-over and the positioning of the female subject beyond the gaze of the spectator in experimental women’s cinema, this chapter looks at how Banietemad’s social melodramas and documentaries have played with the notion of voice, disembodiment, and enunciation.