11. A Shadow for Invisible Films: A Way to Break the Monopoly of Image Production in Iran

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. List of Figures vii
4. Acknowledgments ix
5. Notes on Contributors x
6. Introduction 1
7. PART I AN ARCHAEOLOGY OF POSSIBLE FUTURES
8. 1. The Incomplete: Film, Politics, and Remembering the Past 21
9. 2. The Hidden Half, or the Temporal and Collective Politics of Counter-Memory 31
10. 3. Counter-Investigations: On Matchboxes, Black Boxes, and other Forgotten Futures 47
11. PART II MATERIAL MATTERS: MEMORY, ACCESSIBILITY, TRANSLATION
12. 4. An Archaeology of Access: Materiality, Historiography, and Iranian Cinema 63
13. 5. Black Seals: Missive from Iran’s National Music 85
14. 6. Different Time, Different Space: Filmic Forms of Counter-Memory in Abbas Kiarostami’s Koker Trilogy 99
15. PART III INTERSTICES. NICHES. IMPURE MEMORIES
16. 7. Towards an Impure Memory: An Archaeology of Counter-Memories through Telescoping Lenses 121
17. 8. Seeking Love in the Interstices: Acousmatic Listening as Counter-Memory in Abbas Kiarostami’s Shirin (2008) 146
18. 9. Spiritual Counter-Memories of the War: Mohammad Ali Ahangar’s Recent Contributions to the Sīnemā-ye Defāʿ-ye Moqaddas 167
19. PART IV TRANSGENERATIONAL GAPS AND TRANSMISSIONS
20. 10. Filmfarsi as Counter-Memory 189
21. 11. A Shadow for Invisible Films: A Way to Break the Monopoly of Image Production in Iran 216
22. 12. ‘At the End of a Century’ (1996) 229
23. Index 247