Marva Nabili's The Sealed Soil (1977) is one of the few feature films made by a woman in Iran prior to the 1979 Iranian Revolution. This article argues that the film inaugurated the “distanced look” that most scholars attribute to Iranian art cinema made after 1979. Through a reading of the film's thematic and formal articulations of refusal, the essay claims that this work can open new readings of the relationship between aesthetics and politics in Iranian cinema.
A Cinema of Refusal: The Sealed Soil and the Political Aesthetics of the Iranian New Wave
Sara Saljoughi is an assistant professor of English and cinema studies at the University of Toronto. She is currently working on a book about the aesthetics and politics of the Iranian New Wave in the 1960s and 1970s. Her writing has been published in Iranian Studies, Film International, Film Criticism, and Jadaliyya, and is forthcoming in Camera Obscura.
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Sara Saljoughi; A Cinema of Refusal: The Sealed Soil and the Political Aesthetics of the Iranian New Wave. Feminist Media Histories 1 January 2017; 3 (1): 81–102. doi: https://doi.org/10.1525/fmh.2017.3.1.81
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