Rationalizing the Irrational: Reza Attaran’s Popularity,Stardom, and the Recent Cycle of Iranian Absurd Films

Reza Attaran is one of the most successful stars of the Iranian popular cinema. This article explores the social circumstances, performative components, and political consequences of Attaran’s popularity and stardom, and the evolution of comedy and satire in the Iranian media after the 1979 Revolution. Analyzing the contextual elements and media texts over the last twenty-five years, the article argues that Attaran actively reflects a complex interaction between the social, political, and artistic demands of each period, best represented through his contribution to the television sketch comedies in the 1990s, and the lowbrow comedies and highbrow absurd films in the 2010s. The trajectory of Attaran’s stardom demonstrates the mechanism by which he serves the maintenance of the status quo.     

How I Learned To Stop Worrying and Grudgingly Accept Product Placement: Nicolás López,Chilewood and Criteria for A Neoliberal Cinema

This essay examines the films of Chilewood, a collaboration between Chilean director Nicolás López and U.S. director Eli Roth and which is based in Santiago, Chile. Chilewood’s films underscore a stylistic fragmentation in contemporary Chilean cinema, which largely rests on a distinction between genre cinema and auteur cinema. Within the Chilewood endeavour, Chile serves as a node of production for genre cinema (romantic comedies, comedies, disaster films, thrillers, horror) for both domestic audiences and international audiences. While Chilewood’s films provide an instance to examine different forms of transnationalism through production, financing and content, these same facets can be assessed for their neoliberal aspects that vary with each production.     

Framed Memories: The Politics of Recollection in Mana Neyestani’s An Iranian Metamorphosis

This essay examines the graphic memoir An Iranian Metamorphosis, by the acclaimed cartoonist Mana Neyestani, in the context of Iranian diaspora literature, particularly the genre of comics. Neyestani’s book is analyzed for its engagement with the politics of exile literature, and its attempt at challenging a two-dimensional view of the political discourse, in which the ethical boundaries of pro- and anti-government are overtly simple. The essay focuses on the book’s narrative techniques that exhibit a complex awareness of what is anticipated from a representative work of Iranian exile memoir, and the way it negotiates its own narrative politics. To clarify the arguments, several comparative examples are drawn from two well-known graphic narratives by Iranian diaspora authors, Marjane Satrapi’s Persepolis, and Amir and Khalil’s Zahra’s Paradise.     

Issues and Paradoxes in the Development of Iranian National Cinema: An Overview

Contemporary Iranian cinema has enjoyed wide success on the international scene—winning awards at film festivals, receiving praise by critics, and being screened in many countries around the world. But this success has another side to it: at home in Iran, the movie theater attendance is in decline and a range of players, including individuals, policymakers and government entities continue to meddle in shaping its future. Throughout the twentieth century and during the two decades of post-revolutionary successes abroad, Iranian cinema developed its own unique style and aesthetic. A cinema which was sometimes nurtured and financially encouraged by the government, yet at other times censored or banned by it. This paper provides a brief survey of the history of Iranian cinema since the 1900s in order to reveal the paradoxical issues both propelling and bedeviling its development and the role of principal actors involved in fashioning an Iranian national cinema.     

The ‘Iranian Diaspora’ and the New Media: From Political Action to Humanitarian Help

This article looks at the shifting position of the ‘Iranian diaspora’ in relation to Iran as it is influenced by online and offline transnational networks. In the 1980s the exilic identity of a large part of the Iranian diaspora was the core factor in establishing an extended, yet exclusive form of transnational network. Since then, the patterns of identity within this community have shifted towards a more inclusive network as a result of those transnational connections, leading to more extensive and intense connections and activities between the Iranian diaspora and Iranians in Iran. The main concern of the article is to examine how the narratives of identity are constructed and transformed within Iranian (charity) networks and to identify the factors that contribute to this transformation. The authors use the transnational lens to view diasporic positioning as linked to development issues. New technological sources help diaspora groups, in this case Iranians, to build virtual embedded ties that transcend nation states and borders. Yet, the study also shows that these transnational connections can still be challenged by the nation state, as has been the case with recent developments in Iran.     

Whatever Happened to The Little Black Fish?

This essay uses retranslation studies to trace the defanging and domestication of Samad Behrangi’s The Little Black Fish, a children’s story once hailed as a major revolutionary and literary text. Behrangi’s book is the only modern Iranian prose work to have been translated multiple times both before and after the Islamic Revolution of 1979. The study compares the texts from several of these retranslations, by considering whether they have been domesticated for their English readers, as well as their context, by looking at the cultural impact of such factors as the Islamic Revolution and US?Iran relations. It looks at how various translators and publishers have interpreted the story and how their perspectives reflect Iranian history, the influence of Middle East studies, and the interests of the Iranian diaspora. The result sheds light on translation norms, as well as on the circulation and interpretation of Iranian literature in the global context.     

Peripherality and Humor in the Iranian Art Film

This paper examines a range of post-revolutionary Iranian art films, mostly those watched primarily outside the country via festival screenings, in the context of the relationship between the tropes of peripherality and humor. It argues for the significance and complexity of both terms in the context of this cinema and of the global image of Iran and its peoples. Having examined a kind of humor based on the geographic periphery, specifically derived from relationships between technology, car, and camera, it concludes by reflecting on the advent of new technologies, and social constraints and opportunities in the Iranian art cinema today.     

Cinematic Revolution: Cosmopolitan Alter-cinema of Pre-revolutionary Iran

In the late 1950s, when Iran was witness to the withering away of social norms and everyday practices concomitant with the country's rapid urbanization, a group of young Iranian film directors embarked upon a new cinematic trend, in attempts to screen the ethereal quotidian of Iranian life. Defining itself against what was perceived to be the “cheap” and “repetitive” commercial “Film Farsi” industry of the time, this alternative (alter-)cinema fused the local and global, by incorporating international cinematic elements in socially and politically conscious national films, and projecting them on local and international screens. Problematizing a homogeneous conception of historical time that subsumes the history of cinema into a conventionalized grand narrative of the Iranian 1979 revolution, this article works with a conception of heterogeneous historical time that first interrogates cinematic temporality autonomously and then in relation to the political history of Iran, especially the events of the 1978–79 revolution. This article explores how the distinct cosmopolitan alter-cinema of pre-revolutionary Iran was born from a cinematic rupture in the 1950s, prompted by series of critiques and professional expectations that colored the attention paid to the vernacular and quotidian in film production.     

Locating Home in a “Digital Age”: An Ethnographic Case Study of Second-Generation Iranian Americans in LA and their Use of Internet Media

This paper explores how children of Iranian immigrants engage with internet media in processes of identity formation. It conceptually centralizes places of home in order to bring together literatures on diaspora and digital media in order to understand the case of the second-generation immigrant home. It argues that this partially mediated home is both connected/mobile and emplaced/embodied. It is in this sense that the article discusses processes of locating home, in the sense of both a narrated discovery and a materially situated formation. The findings are generated from ethnographic fieldwork among second-generation Iranian Americans in Los Angeles carried out over a period of twelve months as part of an ongoing doctoral project with a focus on respondents' everyday practices of internet usage.     

De-censoring an Iranian-American “Memoir”: Authorship and Synchronicity in Shahriar Mandanipour's Censoring an Iranian Love Story

In the literature of the Iranian-American diaspora, the memoir genre has become a predominant lens through which Western audiences “read” contemporary Iran. While many bestselling life narratives have relied on hostage crisis-era tropes of gendered repression and subsequent liberation in exile, new amalgams of style and theme, distortions of perspective, and complicated renderings of the “subject” are now beginning to cross borders. One of these is Shahriar Mandanipour's 2009 novel, Censoring an Iranian Love Story, which this paper examines as an auto-fictional commentary on the memoir genre that both arises from and responds directly to censorship using a self-referential and layered text. Through three central dialectics—ambiguous violence, encoded desire and resistance to diachronic historicization alongside the nation—this paper demonstrates how Mandanipour's auto-fictional and often magical realist attempts elude what Gillian Whitlock terms the transnational “economy of affect” that publicizes, protects and ultimately drives the reception of memoir across borders.     

Experiencing ‘moments of home’ through diaspora tourism and travel

Whilst the relationship between diasporic communities and tourism has been explored in the tourism literature, it has generally been underpinned by a limited consideration of the notion of home. Based on ethnographic research with an Iranian diasporic community in the South Island of New Zealand, this paper explores the different ways in which this diaspora community engages with travel and tourism to (re)produce and taste ‘home’. It is argued that the notion of home should be viewed as incomplete, contingent and fleeting, rather than fixed and permanent, specifically within the tourism context. The concept of ‘moments of home’ is presented to illustrate how diasporic communities use travel and tourism to find, maintain or make home when away from their original homeland. Thus, ‘moments of home’ is proposed in order to allow a more complex and dynamic understanding of the relationship between diaspora tourism and home.     

Sovereign Power,Biopower, and the Reach of the West in an Age of Diaspora‐Centred Development

Why at this particular historical moment has there emerged a rousing interest in the potential contribution of diasporas to the development of migrant sending states and why is this diaspora turn so pervasive throughout the global South? The central premise of this paper is that the rapid ascent of diaspora‐centred development cannot be understood apart from historical developments in the West's approach to governing international spaces. Once predicated upon sovereign power, rule over distant others is increasingly coming to depend upon biopolitical projects which conspire to discipline and normalize the conduct of others at a distance so as to create self‐reliant and resilient market actors. We argue that an age of diaspora‐centred development has emerged as a consequence of this shift and is partly constitutive of it. We develop our argument with reference to Giorgio Agamben's “Homo Sacer” project and in particular the theological genealogy of Western political constructs he presents in his book The Kingdom and the Glory (2011). We provide for illustration profiles of three projects which have played a significant role in birthing and conditioning the current diaspora option: the World Bank's Knowledge for Development Programme (K4D); the US‐based International Diaspora Engagement Alliance (IdEA); and the EU/UN Joint Migration and Development Initiative Migration4Development project (JMDI‐M4D). Drawing upon economic theology, we make a case for construing these projects as elements of the West's emerging Oikonomia after the age of empire.     

Esquisses géographiques des récits cinématographiques Canadiens contemporains

Films carry an original geographic discourse. Beyond the vision of an author, they often reflect a society's perspective on territories. The goal of this research is to study the geographic discourse developed by Canadian cinema through an analysis of the places structuring Canadian cinematographic narratives. This analysis is based on the systematic study of a selection of 46 contemporary Canadian films. These films have been transformed into a database of 2200 places using an original geographic reading grid. Analysis of these places identifies the existence of territories under‐ and over‐represented by Canadian cinema, as well as territories of consensus and divergence that exist between different categories of Canadian cinema such as Quebecois, anglophone, and hybrid. Some interesting results include the general lack of interest in the southern hemisphere—notably Latin America—as well as in the Nordic territories (outside of First Nations cinema). It is also interesting to note the quasi‐absence of Vancouver on the screen, while Toronto and the United States appear recurrently. But the most striking result is probably the profound divergence in the way Canadian cinema treats the province of Quebec in general, and the city of Montreal in particular. Montreal is indeed the perfect example of a space of divergence: the city is heavily represented in Quebecois films, but completely ignored in the rest of Canadian cinematographic production. This deep opposition illustrates the importance of downtown Montreal as a symbolic space of Quebec national identity.     

Behind the Ties that Bind: Diaspora-making and Nation-building in China and India in Historical Perspective, 1850s-2010s

Whereas the rare existing comparative studies of Chinese and Indian diaspora policies have focused on recent periods following economic restructuring in both countries, this article, using a historical perspective, looks at diaspora policies in both countries from the angle of conceptions of the nation. Comparing three specific periods – the early twentieth century, the period between the 1950s and the 1970s, and the period since the 1970s – the article argues that there was a similarity between China and India in terms of how conceptions of the nation expanded and contracted together with both domestic and international changes during these periods, in spite of differences in nationality laws. As such, it demonstrates that countries with nationality laws based on jus sanguinis are not necessarily always more inclusive towards diaspora populations than those with nationality laws based on jus soli. In both cases, there is a tension at work between a state-led paradigm that is territorial in nature and ethnic and cultural notions of nationhood.     

L'éternel retour de la transcendance

This article reflects on the feminist potential of a contemporary form of French female cinema stardom that John Orr (2004) names ‘free-fall’. According to Orr, free-fall is a genre of female stardom that has come to prominence in French cinema at the end of the twentieth century and the start of the twenty-first. The free-fall star embarks on a journey of ‘ontological descent’, self-destruction and Kristevan abjection, but we cannot know her reasons for such actions. This article considers the gendered implications of the free-fall star with reference to her portrayal and modification of past French literary heroines in the genre of heritage cinema. It considers her presence in two film adaptations of Gustave Flaubert's literary ?uvre: Madame Bovary (Chabrol, 1991) with Isabelle Huppert, and Un C?ur simple (Laine, 2008) with Sandrine Bonnaire. The mystique of the free-fall star-text potentially challenges a modernist construction of femininity as the lowbrow Other of highbrow pioneering, but its feminist credentials cannot simply be taken for granted.     

Bad Jokes,Bad English,Good Copy: Sukiyaki Western Django,or How the West Was Won

Miike Takashi’s Sukiyaki Western Django is a contemporary remake of Sergio Corbucci’s Spaghetti Western Django. In this updated Japanese version all of the characters speak English and there is a notable cameo appearance by Quentin Tarantino that references the continuous series of filmic exchanges that have taken place between Asia and the West, most notably in the context of action cinema. Rather than conceiving of the various movements and exchanges between the two films (and their predecessors) in terms of the search for an “original” or for the conceptualisation of good or bad copies, this paper focuses on the question of genre and what it can bring to a discussion of cross-cultural value in cinema. In particular, the paper explores what the recurring turn to Westerns in Asia reveals about the search for new frontiers of value and aesthetics in global cinema. From the serious to the self-conscious to the downright “bad” (and bad-ass) Western, Sukiyaki Western Django is a notable recent example of how the “Asian Western” both localises and globalises a peculiarly American genre, and at once de-values and re-values the “original”.     

Nationalism,diaspora and ‘civilisational mission’: the case of Syrian nationalism in Latin America between World War I and World War II

Abstract. The notion of ‘civilisational mission’ (risala hadariyya) is a core concept of nationalism, particularly of Arab and Syrian nationalism. Its importance lies in the ability to bring three aspects of nationalist thought into one pattern of meaning: the projected modernisation of the nation, the nation's quest for recognition and equal participation in the international arena, and the claim to political leadership of the rising educated middle class. In the Syrian diaspora during the interwar period, the notion was additionally shaped by the refutation of the neo‐colonial aspirations of the mandate powers (mission civilisatrice) as well as by the interaction between the diaspora community and the host society. This article analyses this concept in its discursive context focusing on Dr Khalil and Antun Sa‘adeh, who were both eminent intellectuals, party founders and editors of several diasporic newspapers and magazines in Argentina and Brazil.     

Edna O'Brien and narrative diaspora space

Given the persistent presence of migration in the work of Edna O'Brien, it is surprising how marginal a theme it is in critiques of her work. This article explores how questions of diaspora have reached a renewed level of depth and intensity in her novel The Light of Evening (2006) and the related short story ‘My Two Mothers’ (2011). Looking, in particular, at how letters play a central role in the relationships of three generations of Irish women across three countries, it analyses how issues of mother(land), diaspora and belonging are mediated through migrant fiction. It draws on the work of Avtar Brah and Paul Ricoeur to argue that, along with related forms of textuality within O'Brien's oeuvre, letters represent a ‘narrative diaspora space’ which illuminates the relationship between mothers, daughters and writing in Irish migrant experience.     

The History of Ressentiment in Iran and the Emerging Ressentiment-less Mindset

Two dichotomies, one that resents the West and another that admires it, seem to have long polarized both Iranian intellectuals and the public imagination. Darioush Ashouri discusses this issue in terms of “ressentiment,” a term he borrows from Nietzsche. This study puts Ashouri's scattered views within a Nietzschean framework to form a coherent theory, and places it against the background of a brief history of ressentiment in Iran. It then argues that signs of a ressentiment-less young generation, mostly university students, seem to be appearing, and a certain kind of social behavior on Facebook and a work by the Iranian musician Mohsen Namjoo are analyzed as evidence of this emerging mindset.     

Protestantism,nation and diaspora in Imperial Germany

This article examines the close connection between Protestantism and nationalism in Imperial Germany within a transnational context. In the years before 1914, the Prussian State Church in particular strengthened the legal and organisational framework for an increasing number of diaspora congregations to become attached. These acted as an important vehicle to embed the nationalist rhetoric produced within the Reich into emigrants' notions of belonging. Whilst previous scholarship has noted this connection in general, the article sheds more detailed light on the mechanics and structure, but also on the limits, of this process. Feedback processes from periphery to centre, in turn, had an impact on German national identity construction as that of a nation that was not confined to state borders. Applying a constructionist theoretical framework, the contested question of whether the heterogeneity of Germans abroad allows for the application of the diaspora concept is answered affirmatively.