Mamta Kalia

9. Ayatollah Ruhollah Khomeini, Islam and Revolution: Writings and Declarations
of Imam Khomeini, Tr. Hamid Algar, University of California Press, Berkeley,
1979, p.258. Also see Michael M. J. Fischer, Imam Khomeini: Four Levels of
Understanding, in Voices of Resurgent Islam (ed.), John L. Esposito, Oxford University
Press, New York, 1983, pp.150-174.
10. Richard Tapper (ed.), The New Iranian Cinema, Politics, Representation and Identity,
I.B.Tauris, London, 2002, p. 7.
11. cited in Hamid Naficy, Islamizing Film Culture in Iran: A Post-Khatami Update,
in Richard Tapper (ed.), The New Iranian Cinema, Politics, Representation and
Identity, I.B.Tauris, London, 2002, p.p. 36-37.
12. Safawi and Dehlvi, p.193.
13. Shahla Lahiji, Chaste Dolls and Unchaste Dolls: Women in Iranian Cinema since
1979, in Richard Tapper (ed.), The New Iranian Cinema, Politics, Representation
and Identity, I.B.Tauris, London, 2002, pp. 215-226.
14. Naficy, Islamizing Film Culture in Iran: A Post-Khatami Update, p.49.
15. Ibid.
16. Ibid.
17. Femme Fatales: Feminism Film Theory, Psychoanalysis, New York, Routledge, 1991,
p.48.
18. Hamid Naficy, “Parallel Worlds: Shirin Neshat’s Video Works,” in Gerald Matt
and Julia Peyton-Jones (ed.) Shirin Neshat: Exhibition Catalogue, Kuntshalle, Vienna,
2000, p. 47.
19. Afsaneh Najmabadi, “Hazards of Modernity and Morality: Women, State, and
Ideology in Contemporary Iran,” in Deniz Kandiyoti (ed.), Women, Islam, and
the State, Macmillan, Hampshire, UK, 1991, p.65.
20. Lindsey Moore, Women in Widening Frame: (Cross)-Cultural Projection, Spectatorship
and Iranian Cinema, Camera Obscura 59, Volume 20, Number 2, p.1.
21. Ibid.
22. Hamid Naficy, Veiled Voice and Vision in Iranian Cinema: The Evolution of
Rakshan Banietemad’s Films, Iran Chamber Society, November 17, 2008.)
LALIT JOSHI is a Professor in the Department of History at Allahabad
University. His areas of teaching and research include Cultural Globalization
and the History of Cinema. He has published extensively in Hindi
and English in international and national journals and anthologies.
His manual on Hindi Cinema titled HOUSE FULL is going through
a second edition. His forthcoming publications include a Cultural History
of Allahabad and another on Global Bollywood.
April-June 2010 :: 137