Image and Word: Islam and Film Form in the New Iranian Cinema
The rapport between religion and film is not only historical but also ontological. The Abrahamic faiths specifically (Islam, Christianity, and Judaism) and the audio-visual medium of cinema share a complex affiliation with reference to two of their foundational elements: image and word. Building on...
| 主要作者: | |
|---|---|
| 格式: | 電子 Article |
| 語言: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | 載入...
|
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| 出版: |
2023
|
| In: |
Religion and the arts
Year: 2023, 卷: 27, 發布: 3, Pages: 367-383 |
| Further subjects: | B
film form
B New Iranian Cinema B This is Not a Film (2011) B Offside (2006) B Close-up (1990) B 伊斯蘭教 |
| 在線閱讀: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| 總結: | The rapport between religion and film is not only historical but also ontological. The Abrahamic faiths specifically (Islam, Christianity, and Judaism) and the audio-visual medium of cinema share a complex affiliation with reference to two of their foundational elements: image and word. Building on the constitutive kernels of the Abrahamic religion of Islam (image and word), this paper will locate and define its formal manifestations in cinema; in other words, the way in which the conception of image and word at Islam marks film form. This endeavor will be sustained by calling upon some distinctive film cases of the so-called New Iranian Cinema. In particular, Offside (2006) and This Is Not a Film (2011) by Jafar Panahi, and Close-up (1990) by Abbas Kiarostami, as well as other films, will be utilized for analysis in order to delineate the qualities of the claimed religious film form in question. These films are selected as they foreground and thus play out the dialectic of image and word, their absence and their presence. |
|---|---|
| ISSN: | 1568-5292 |
| Contains: | Enthalten in: Religion and the arts
|
| Persistent identifiers: | DOI: 10.1163/15685292-02703003 |
