While the cinema of post-revolutionary Iran is internationally acknowledged, the world outside Iran has been ignorant of the Iranian war films that are the subject of this pioneering book. Over 200 Iranian feature films concentrating primarily on fighting and military operations have appeared since the 1980s and the beginning of the war between Iran and Iraq. This book presents a detailed exploration of the 'Sacred Defence cinema' established by Seyed Morteza Avini, a cinema that directly connects this war to the faith and religious belief of volunteer guardians of the revolution. These films remain the primary vehicles of the Islamic state in Iran for the preservation and memorization of the theme of martyrdom. As the distinguished film scholar, Hamid Dabashi writes in his Foreword to the book: 'If national cinemas are predicated on national traumas, in the volume that Pedram Khosronejad has put together we are at the heart of Iranian cinema.' "The eight-year Iran-Iraq war near the end of the 20th century renewed the horrors of the First World War near the start of the century - causing millions of casualties and untold devastation on both sides. It also resulted in a vigorous and dynamic cinematic output in Iran, producing some of the most ardent Islamist political movies, Shii-inflected spiritual films, and original theorization of what constitutes an 'Islamic cinema'. Khosronejad has managed to amass an astute and fascinating anthology - the first in English - that brings together an international roster of scholars to deal with the complexities and varieties of war fiction films, documentaries, television series and auteur directors." Prof. Hamid Naficy Northwestern University

The importance and ramifications of saints, sainthood and pilgrimage in contemporary Iran and neighbouring countries are great, yet the academic conceptualizations of them and their entailments are sorely lacking. This book places the saints and their pilgrims in sharper focus, and offers important correctives to all-too-common Western misunderstandings, the foremost of which is the erroneous portrayal of Islam as primarily a body of legal doctrine and corresponding practice, and the associated principle that we can 'know' Islam if we 'know' Islamic law. In an effort to challenge such a limited, and limiting, perspective, this volume suggests that both anthropology, insofar as it can focus on experience and practice, and history, insofar as it can encompass more than an institutional/political 'names and dates' discourse, can reveal something of the dynamism of the faith, as more than the sum of its laws. The approaches demonstrated in this book on Shiite Pilgrimage offer windows into the beliefs and lives of 'ordinary' people, past and present, and thereby bring forth agendas akin to those of 'subaltern studies'. Finally, the memorializing documented in these chapters provides evidence, past and present, of widespread desires for a more concrete, even immanent, relationship that is direct, unmediated and, at least partly, involves forms of intercession - even though such desires for immanence in the Islamic world have previously been considered as limited to devotees of the Sufi saints or the Shi'i Imams or their progeny.

Today, almost a generation has passed since the Iran-Iraq war and the memory of it is set to diminish with each passing generation. The following questions emerge. Can we say that the gradual disappearance of war's memory means that, increasingly, Iranians will see the Iran-Iraq war solely as an historical event? How can we defend or reject this idea? Today, with which elements and values should we look at the Iran-Iraq war memorials and ceremonies? To what extent will war museums and materials culture be influenced by these new values? In the period during and immediately after the Iran-Iraq war (1980-88), national bereavement and commemoration of martyrs was neither apparent in common state policy nor a social need. Even at the turn of the 21st century, anyone walking through Iranian cities, many of which had been the main scene of the bloody massacre and direct targets of the Iraqi Republican Guard, will have found traces of the terrible, almost unimaginable, human losses. However, today's Iranians can see modern war memorials and monuments in many parts of the urban and rural landscape. Yet, at the same time, the changing landscape has separated Iranians from such remnants of the violence. It can be argued that many people, in their wish to look forward to a more hopeful future, do not wish to be reminded of this period in Iranian history. This book was originally published as a special issue of Visual Anthropology.

Today, almost a generation has passed since the Iran Iraq war and the memory of it is set to diminish with each passing generation. The following questions emerge. Can we say that the gradual disappearance of war s memory means that, increasingly, Iranians will see the Iran Iraq war solely as an historical event? How can we defend or reject this idea? Today, with which elements and values should we look at the Iran Iraq war memorials and ceremonies? To what extent will war museums and materials culture be influenced by these new values?

In the period during and immediately after the Iran Iraq war (1980-88), national bereavement and commemoration of martyrs was neither apparent in common state policy nor a social need. Even at the turn of the 21st century, anyone walking through Iranian cities, many of which had been the main scene of the bloody massacre and direct targets of the Iraqi Republican Guard, will have found traces of the terrible, almost unimaginable, human losses.

However, today s Iranians can see modern war memorials and monuments in many parts of the urban and rural landscape. Yet, at the same time, the changing landscape has separated Iranians from such remnants of the violence. It can be argued that many people, in their wish to look forward to a more hopeful future, do not wish to be reminded of this period in Iranian history.

This book was originally published as a special issue of Visual Anthropology."

This impressive work of scholarship brings together anthropology, religion, popular culture, and history in its focus on Bakhtiari lion tombstones that have remained largely unknown and hence little studied. Although lions have long figured in Iranian history, art and myth as symbols of rulership, power, religious leadership or as steadfast guardians, art historians have tended to concentrate their attentions on court traditions and the role of lions in popular culture, especially in religion, has remained little considered until this book. Funerary stone lions are to be found throughout western Iran, but are concentrated in the summer and winter pasture areas of the Bakhtiari, today's provinces of Chahar Mahal and Bakhtiari, west of Isfahan, and Khuzistan. This highly illustrated colour volume draws on meticulous fieldwork and includes over three hundred photographs, drawings, charts and maps. The recording of this rare sculptural heritage, dating from the 16th century to the early 20th century, has become ever more pressing as some tombstones have been taken from their original settings and re-erected in parks, others damaged by the elements and some recently broken up to be used in road repairs. 'Pedram Khosronejad's Lion Tombstones among Bakhtiari Pastoral Nomads in South West Iran is to be greatly welcomed... [It is ]based on extensive fieldwork and represents something of a rescue project....This volume, however, goes further in raising three inter-related issues: why have these important artifacts been neglected even by specialists; how do they relate to a richer understanding of Iranian art and culture; and how does vernacular art relate to the accepted traditions of Iranian art?.... This volume will prove to be important in bringing the lion tombstones to a larger public attention.' G. R. Garthwaite, Dartmouth College, Hanover, NH Jane and Raphael Bernstein Professor in Asian Studies, Emeritus & Professor of History, Emeritus