index
Page numbers in italic type indicate
illustrations.
Abadan: foreign cultures in, 508; Rex
Cinema fire, 22, 23, 414; siege of, 8;
war documentaries on, 8, 14, 22–24, 31
Abadan, the Innocent City (Eslamu docu-
mentary), 8, 22
Abadi, Sou, 150
Abbasgholizadeh, Mahboubeh, 149–50,
357
a.b.c. Africa (A. Kiarostami film), 183,
188, 192, 249
Abdoh, Reza, 467–68
Abdolrahimi, Gholam, 33
Abdolvahab, Mohsen, 61
Abdorrahman Boroumand Foundation
for the Promotion of Human Rights
and Democracy in Iran (AbF), 459–60
Abedian, Torang, 73
Abrams, M. H., 177
Academy of Motion Picture Arts and Sci-
ences, 257
accented cinema: animated, 494–96;
anti-Islamic Republic, 281; on arts
and cinema, 461–66; autobiographi-
cal, 453–56, 491; characteristics of,
389–92; claustrophobia in, 401,
404–5, 405, 438, 448, 451, 469, 501,
506; cosmopolitan, 397–400, 500–512;
defined, 393; denial and panic in,
400–405; diary films, 200, 422, 423,
467, 491–94; diasporic, 171, 297,
370, 394–95, 413; displacement and,
384; dissident, 466; documentaries,
4, 51; emergence of, 375–76; émigré,
395–96, 399; ethnic, 396–97; exilic,
338–39, 393–94, 399–400, 400–405,
413; film production, 378–81, 392;
gender and, 377–80; global, 392–93;
historical documentaries, 412–21;
humor in, 451–52; identity documen-
taries, 422–59; international film
festivals and, 253–55, 392, 407–12;
mise-en-scène in, 401, 451; by ngos,
459–61; postmodernism in, 370–71,
389, 399, 449, 453; postrevolutionary,
51; reception of, 405–7; salvage docu-
mentaries, 464–66; self-inscription
in, 473–74, 491; as transnational, 370,
375–76; types of, 393; women’s avant-
garde, 467–500. See also ethnic cinema
“Accented Cinema Film Series,” 408
Accompanied by Wind, into the Heart of the
Desert’s Loneliness (Tayyab film), 81
Actor, The (M. Makhmalbaf film), 198
Adel, Gholamali Haddad, 100–101
Adelaide Film Festival, 70
Adineh, Golab, 163
Adnan, General. See Kassey, Adnan El
adoption, 60–61
Adrekani, Tahmineh, 119
Aesthetics of Political Protest in Iran, The
(Yusefi film), 352
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