Allegory and Ambiguity in the Films of Majid Majidi: A Theodicy of Meaning (Farsi)
This paper explores the place of traditional metaphysics in Iranian cinema through an analysis of three films by Majid Majidi. Countering evaluations of Majidi’s films as tritely patriarchal or heavy-handedly logocentric, this paper considers images and allegories in Majidi’s films as responses to t...
| Subtitles: | The 2015 International Conference on Religion and Film in Istanbul |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | Iranian languages |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
[publisher not identified]
2016
|
| In: |
The journal of religion and film
Year: 2016, Volume: 20, Issue: 1, Pages: 1-24 |
| Standardized Subjects / Keyword chains: | B
Majidi, Majid 1959-
/ Film
/ The Modern
/ Allegory
/ Sufism
|
| RelBib Classification: | BJ Islam KBL Near East and North Africa ZG Media studies; Digital media; Communication studies |
| Online Access: |
Volltext (kostenfrei) |
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| 520 | |a This paper explores the place of traditional metaphysics in Iranian cinema through an analysis of three films by Majid Majidi. Countering evaluations of Majidi’s films as tritely patriarchal or heavy-handedly logocentric, this paper considers images and allegories in Majidi’s films as responses to the pains of modernity. Majidi’s films, specifically, Children of Heaven, Baran, and the Color of God, draw on Sufi and Shii theologies to locate meaning in a world changed by war, modernization, economic disparity, and nationalism. The result is a sense of ambiguity that aims at both realism and transcendence. | ||
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| STE | 0 | 0 | |a 托寓,现代性,电影,电影,苏菲主义,苏菲派 |
| STF | 0 | 0 | |a 現代性,蘇菲主義,蘇菲派,託寓,電影,電影 |
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