Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Figures and Tables vii
4. Acknowledgments ix
5. Notes on Contributors x
6. Note on Transliteration and Style xiii
7. Part I Introduction
8. An Overview of Banietemad’s Career and Films 1
9. A Conversation with the Director 12
10. Part II Aesthetics, Politics, and Narrative Structure
11. 1. From Black Comedies to Social Realism: Rakhshan Banietemad’s Early Feature Films 27
12. 2. Under the Skin of Society: Rakhshan Banietemad’s Social History of Post-revolutionary Iran 42
13. 3. Tales and the Cinematic Divan of Rakhshan Banietemad 57
14. 4. The Artistic and Political Implications of the Meta-cinematic in Rakhshan Banietemad’s Films 79
15. Part III Gender, Love, and Sexuality
16. 5. “Modes of Expression not Subject to the Law of Male Desire”: Considering the Role of Voice-over and Enunciation in the Work of Rakhshan Banietemad 97
17. 6. Affective Listening, Sonic Intimacy, and the Power of Quiet Voices in Rakhshan Banietemad’s The May Lady: Towards a Cinema of Empathy 115
18. 7. The Blue-veiled: A Semiological Analysis of a Social Love Story 140
19. 8. Masculinities in Banietemad’s Tales: Reshuffling Gender Dynamics under Socio-economic Pressures 159
20. 9. Representing Sexuality on Screen in Walled Societies: A Comparative Analysis of Iranian Film (The May Lady) and Chinese Film (Army Nurse) 173
21. Part IV Fact, Fiction, and Society
22. 10. Rakhshan Banietemad’s Art of Social Realism: Bridging Realism and Fiction 189
23. 11. Embracing All My Trees: An Ecocritical Reading 206
24. 12. Hidden Transcripts of Subordinates and the Art of Resistance in Our Times 219
25. Filmography 233
26. Bibliography 235
27. Index 247