Papers by Babak Tabarraee
Mashriq & Mahjar: Journal of Middle East & North African Migration Studies, 2022
Many of the Iranian films released inside Iran during the 2010s address the latest wave of Irania... more Many of the Iranian films released inside Iran during the 2010s address the latest wave of Iranians’ emigrations since 2009. Examining the dominant tropes of migration in their narrative subsets, this article argues that the Iranian cinema of the last decade offers a paradigm shift in its conceptualization of migration which may reflect a gradual change in Iranian society. This study proposes that while some recent Iranian films have maintained the pre-established traditions of depicting the hosting countries of immigrants on utopic and/or dystopic terms, a high number of movies have instead presented temporary or permanent migration as a natural, self-evident, and righteous choice. Analyzing the representational strategies of these films obfuscates the imagined borders of a global community of Iranians and problematizes the classic definition of farangistan (foreign lands) by lessening its otherness from Iranshahr (the land of Iranians).
![Research paper thumbnail of Furūshandih [The Salesman]](https://a.academia-assets.com/images/blank-paper.jpg)
Journal of Islamic and Muslim Studies, 2018
Endnotes 1. Shannon Bowen, “Oscars: A female Muslim Teen Becomes Radicalized in the Netherlands’ ... more Endnotes 1. Shannon Bowen, “Oscars: A female Muslim Teen Becomes Radicalized in the Netherlands’ Layla M.’,” The Hollywood Reporter, December 1, 2017, https://www.hollywoodreporter.com/ news/oscars-a-female-muslim-teen-becomes-radicalized-netherlands-layla-m-1063252 2. Ernst Renan, “What is a Nation?,” in Becoming National: A Reader, eds. Geoff Eley and Ronald Grigor Suny (Oxford University Press, 1996), 41–55. 3. Desmond King, The Liberty of Strangers: Making the American Nation (New York: Oxford University Press, 2005). 4. Hayfa’ Ze‘aytar, “Al-fannān al-lubnānī Fadl Shākir yuthīr al-jadal min jadīd ba‘da tawbatihi “al-thāniyah”,” France24, September 3, 2015, http://www.france24.com/ar
This article explores the historical forces contributing to the existence of multiple and/or unau... more This article explores the historical forces contributing to the existence of multiple and/or unauthorized Persian literary translations. Using an autoethnographic method, I argue that it will be more constructive to shift the focus from the legal and ethical narratives of foreign literature in Iran to a reconceptualization of translators as a subculture of media fans. introduction: iranian copyright battles I n april 2018, The Paris Review reexamined how a limited screening of the Iranian film Pari (Dariush Mehrjui, 1995) in New York in 1998 was halted at the request of J. D. Salinger’s lawyer.1 Pari was a free adaptation of three stories by the American writer: “Franny,” “Zooey,” and “A Perfect Day for Bananafish.” Salinger notoriously detested movies, but both this article and a New York Times piece at the time of Pari’s release blamed Iran’s lack of official adherence to international copyright standards as the main culprit for the unfortunate event.2 Beyond the glitz and glamor ...
This thesis is an attempt to formulate a systematic framework for 'silence studies' in the cinema... more This thesis is an attempt to formulate a systematic framework for 'silence studies' in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete, partial (uncovered; covered with noise, music, or perspective), character/dialogue, language, and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual, character/image, narrative, and political silences in Kiarostami's oeuvre. In the conclusion, some of the powers of silence in the cinema of Kiarostami are discussed. The narrative, ethical, philosophical, and aesthetic dimensions of silence in Kiarostami make it possible to define his cinema as one based in, and dependent on, silence.
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Papers by Babak Tabarraee