Iranian filmmakers have long been recognised for creating a
vibrant, aesthetically rich cinema whilst working under strict
state censorship regulations. As Michelle Langford reveals, many
have found indirect, allegorical ways of expressing forbidden
topics and issues in their films. But for many, allegory is much
more than a foil against haphazardly applied censorship rules.
Drawing on a long history of allegorical expression in Persian
poetry and the arts, allegory has become an integral part of the
poetics of Iranian cinema. Allegory in Iranian Cinema explores the
allegorical aesthetics of Iranian cinema, explaining how it has
emerged from deep cultural traditions and how it functions as a
strategy for both supporting and resisting dominant ideology. As
well as tracing the roots of allegory in Iranian cinema before and
after the 1979 revolution, Langford also theorizes this cinematic
mode. She draws on a range of cinematic, philosophical and cultural
concepts - developed by thinkers such as Walter Benjamin, Gilles
Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack -
to provide a theoretical framework for detailed analyses of films
by renowned directors of the pre-and post-revolutionary eras
including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran
Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen
Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in
Iranian Cinema explains how a centuries-old means of expression,
interpretation, encoding and decoding becomes, in the hands of
Iran's most skilled cineastes, a powerful tool with which to
critique and challenge social and cultural norms.
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