[P6344] Iranian Cineture: Local Narratives, Global Receptions

Created by Naghmeh Esmaeilpour
Tuesday, 11/30/21 11:30 am

SUMMARY:

In cultural globalization, films play an important role as a social medium to connect different countries and nations and their cultures, traditions, and religions. As an example of this model, Iranian filmmakers employ transmedial narratives in their films to imbed or transfer information about Iranians to “the whole world to see.” To put it in other words, multimodalities, transfictionality, and transmediality applied in Iranian Cineture (Cinema and Literature) facilitate and mediate a negotiation between different cultures and nations. On the one hand, artists employ literary techniques such as irony, monologue (aside), metaphor, and metafiction to show poetic or dramatic characters within the constant connection to world literature narratives. On the other hand, authors use cinematic techniques like cut-scenes, flash-back or flash-forward, and cinematic dialogue forms to describe characters’ philosophy, state of mind, and life in relation to world cinema. This panel seeks to address how Iranian filmmakers and authors, as the cultural makers, employ local narratives in their films or literary works as a medium of implanting or transferring new ideas to their audiences, presenting or representing two parallel boundaries imploded worlds (fact and fiction), and affecting the perception of global viewers of Iran. Moreover, we are interested in how Iranian cineture, in conjunction with other media (through transmediality, transfictionality, or multimodality), addresses global themes such as humanity, gender equality, (religious) war, love, and betrayal, and identity crisis that lead to achieving global receptions. This multidisciplinary panel invites papers in cultural studies, film studies, Iranian studies, reception studies, and literary studies to ask how Iranian filmmakers represent or employ Cineture or local narrative in their works to achieve global reception. Additionally, we are interested in how Iranian films and filmmakers act against or for, propagate or negate Iran’s role in cultural globalization through “the spreading of culture-defining stories across media. ”

FUNDING:

At the moment, there is no Funding, but it will be through DAAD

DISCIPLINES:

Art/Art Hist; Art/Art Hist

ABSTRACTS:

MEMBERS:

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Naghmeh Esmaeilpour

(Humboldt University in Berlin)
Panel Participating Role(s): Organizer; Presenter;

Kaveh Rafie

(University of Illinois at Chicago)
Panel Participating Role(s): Presenter;
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Arash Mohammadavvali

(Leiden University)
Panel Participating Role(s): Presenter;