A Gaze through the Veil:

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Fig.2. Persepolis, Film Still, 2007.It is a simple black and white animated film, the animation allows this film to becomeuniversal, it displays the girl’s life which is shaped by struggle and displays thehypocrisy of Islamic authorities. This film does not display Iranians in an anti-Western way, but shows you the effects the anti western regime inflicts on the people,showing situations such as C.D’s of western music being dealt on street corners likedrugs, clothing labels such as Nike being frowned upon, the film is critical of allsocial and political injustice of Iran. By using animation and dark humour, Satrapisfilm is intriguing to all races and class. The film was pulled from the Bangkok Filmfestival as the Iranian government said it was a problem for them as it displayed a badimage of Iran. (Chocano, 2007, p.8) The two main points of Persepolis makes are that“strife is relative, and all politics are personal.”(Davies, 2007, p.61)Taking all of this into account, the strict censorship policies that are in effect in Iranare stifling artistic creation. These restrictions and rules are always influx; it isdifficult to determine the main elements that the government want to censor. The holdthe government has on art and the system of governance that has been established isastounding. Art in Iran is “communicated through a veil of abstraction as artistsattempt to elude the critical eye of censors.” (Callamard, 2006, p.48) This culture ofself censorship is damaging and may eventually control art without the government’s
involvement. By examining the work of Shirin Neshat we can begin to understand theextent of these restrictions that the fundamentalist regime has placed on the citizens ofIran.
Page 4 and 5: Introduction“In any society, the
Page 6 and 7: Chapter One: The Oppressed and the
Page 8 and 9: fundamentalist values. Khomeini sta
Page 10 and 11: In June 1993, sixty Hezbollahis att
Page 12 and 13: depicted wearing the chador and eve
Page 14 and 15: the Shah and it was also seen as a
Page 18 and 19: Chapter Two: Repressed or PowerfulI
Page 20: the men.” (Tenaglia, 2002, p.97)
Page 25 and 26: Chapter Three: Structures of Oppres
Page 27 and 28: One would agree with this viewpoint
Page 29 and 30: oundaries. They pray, beat drums an
Page 31 and 32: Iran. It shows us the separation of
Page 33 and 34: Shirin Neshat’s work deals with i
Page 36 and 37: Reference ListBalaghi, S. (2002)
Page 38: Tenaglia, S. (2002) ‘The Power of

A Gaze through the Veil:

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