Golbarg Rekabtalaei的《伊朗世界主义:一部电影史》和Kaveh Askari的《中世纪伊朗的电影转播:运输中的物质文化》(回顾)

IF 0.5 2区艺术学 0 FILM, RADIO, TELEVISION

JCMS-Journal of Cinema and Media Studies Pub Date : 2023-06-01 DOI:10.1353/cj.2023.a904640

Farzaneh Ebrahimzadeh Holasu

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引用次数: 0

摘要

Miriam Hansen的白话现代主义概念阐述了电影作为一种大众文化形式如何成为现代主义，并反映了它与大众文化的相互关系，受此启发，Golbarg Rekabtalaei和Kaveh Askari运用这一概念，通过他们独特的方法来研究伊朗电影现代性的社会文化历史。Golbarg Rekabtalaei的《伊朗世界主义:一部电影史》叙述了伊朗“电影现代性”在二十世纪革命前电影所提供的社会空间和视觉内容中的“形态发生”她的

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Iranian Cosmopolitanism: A Cinematic History by Golbarg Rekabtalaei, and: Relaying Cinema in Midcentury Iran: Material Cultures in Transit by Kaveh Askari (review)

Inspired by Miriam Hansen’s concept of Vernacular Modernism, which elucidates how cinema as a mass cultural form can be modernist and refl ects upon its interrelation with mass culture, Golbarg Rekabtalaei and Kaveh Askari deploy the concept to investigate the socio-cultural history of Iranian cinematic modernity through their idiosyncratic approaches. Golbarg Rekabtalaei’s Iranian Cosmopolitanism: A Cinematic History narrates the “morphogenesis” of Iranian “cinematic modernity” in the social space and visual content that pre-revolutionary cinema off ered in the twentieth century.1 Her

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来源期刊

JCMS-Journal of Cinema and Media Studies FILM, RADIO, TELEVISION-

CiteScore

1.20

自引率

0.00%

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