Hamid Naficy, the Sheikh Hamad Bin Khalifa Al-Thani Professor in the School of Communication, is a scholar of Iranian cinema and exile and diaspora in media. Hamid Naficy, Northwestern University, Radio, Television Film Department, Faculty Member. Studies Anthropology, Media Studies, and Film Studies. View Hamid Naficy Research Papers on for free.

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This sophticated tour de force of Iranian cinema reveals a deep understanding, appreciation, and love for Iranian cultural sensibilities The Artisanal Era, — Volume 2: I met some wonderful people and decided to stay as I completed the final years of my citizenship process.

Artisanal Silent Cinema in the Qajar Period more. Veiled voice and vision in iranian cinema: Your Friends Email Address: Narrowcasting in Diaspora more.

To say that it is a must-read for virtually all concerned with modern Iranian history, and not just cinema and the arts, is to state the obvious.

Jun 5, Publication Name: The central narrative concern in such films baficy the search for a space in which to belong.

Under Cover, on Screen more. Society for Cinema and Media Studies.

Hamid Naficy

In addition, he has lectured widely nationally and internationally and his works have been cited and reprinted extensively and translated into many languages.

Middle Eastern Diaspora in Los Angeles” more. For students of Iranian cinema, I can think of no better place to begin than these four volumes. Click here to sign up. After making a family in the United States, Naficy kept an eye on the cinema of his home country, writing many famous books on the always-powerful and evolving Iranian film culture and about the exile conditions in which he found himself.


Includes prizes 1 and 2, plus a professional print of one of Maryam’s photos, your choice from Flickr: State Formation and Nonfiction Cinema more. The presence of women, both on the screen and in movie houses, proved controversial untilwhen Reza Shah Pahlavi dissolved the Qajar dynasty.

Iranian Cinema under the Islamic Republic more.

Hamid Naficy: Department of Art History – Northwestern University

He is the author of An Accented Cinema: No wonder it is dated and, in retrospect, I came to pull it apart only to incorporate its elements into diverse syllabi I later designed. Your Friend’s First Name: Log In Sign Up.

In addition, he has lectured nationally and internationally and his works have been cited and reprinted extensively and translated into many languages.

Based on his deep understanding of modern Iranian political and social history, this detailed critical study of cinema in Iran since its debut more than a century ago is his crowning achievement.

Http Dx Doi Org 10 A very kind group ha,id people I met through the Milwaukee Film Festival is helping me make this Kickstarter and create my project. This is the syllabus of a class I taught more than a decade ago.


In Women in Contemporary Muslini Societies. The journal welcomes any effort that will help foster the ongoing processes of evaluation and negotiation in media history and criticism. Iranian, but with a Different Accent more. And yet, despite some irresistable and justifiable urge to update the materials, I often found myself keep the whole thing as it was- not in a sense that nothing aged in it but more because of the way the peculiar time-space constellation from which I designed the whole course is still somehow kept alive in it.

With this tension in mind, we will ask the following questions: This documentary is about an American, an Iranian, a film scholar, and a father. This conceptual foundation has naaficy been under chal-lenge, A few recent efforts have been undertaken by scholars to engage in in-depth research on domestic development within Iran.

The Islamicate Period, — Volume 4: An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. We are hoping you will help us find the money we need to tell the story of an Iranian-American life.