Michelle Langford is Senior Lecturer in Film Studies at the University of New South Wales, Sydney, Australia. Her research spans the cinemas of Iran and Germany. She is author of Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter (2006) and the editor of The Directory of World Cinema: Germany (2012, 2013). Her work on Iranian cinema has appeared in leading film studies journals including Camera Obscura, Screen and Screening the Past.

[W]onderfully informative … Langford’s descriptions of the films under discussion are evocative throughout, and the flexibility of her approach to allegory allows for the cohabitation of vastly different films in each chapter, as well as the capacity to adopt distinct approaches for reading films by the same director.

• List of FiguresAcknowledgementsNote on TransliterationIntroduction – Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance1 Locating Allegory in Pre-Revolutionary Iranian Cinema2 The Allegorical Children of Iranian Cinema3 Allegory and the Aesthetics of Becoming-Woman4 Allegories of Love: The Cinematic Ghazal5 Tending the Wounds of the Nation: Gender in Iranian War Cinema6 Between Laughter and Mourning: About Elly as Trauerspiel of a GenerationCoda: Allegory Spills into the StreetsBibliographyIndex

Michelle Langford is Senior Lecturer in Film Studies at the University of New South Wales, Sydney, Australia. Her research spans the cinemas of Iran and Germany. She is author of Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter (2006) and the editor of The Directory of World Cinema: Germany (2012, 2013). Her work on Iranian cinema has appeared in leading film studies journals including Camera Obscura, Screen and Screening the Past.

[W]onderfully informative … Langford’s descriptions of the films under discussion are evocative throughout, and the flexibility of her approach to allegory allows for the cohabitation of vastly different films in each chapter, as well as the capacity to adopt distinct approaches for reading films by the same director.

• List of FiguresAcknowledgementsNote on TransliterationIntroduction – Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance1 Locating Allegory in Pre-Revolutionary Iranian Cinema2 The Allegorical Children of Iranian Cinema3 Allegory and the Aesthetics of Becoming-Woman4 Allegories of Love: The Cinematic Ghazal5 Tending the Wounds of the Nation: Gender in Iranian War Cinema6 Between Laughter and Mourning: About Elly as Trauerspiel of a GenerationCoda: Allegory Spills into the StreetsBibliographyIndex

Michelle Langford is Senior Lecturer in Film Studies at the University of New South Wales, Sydney, Australia. Her research spans the cinemas of Iran and Germany. She is author of Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter (2006) and the editor of The Directory of World Cinema: Germany (2012, 2013). Her work on Iranian cinema has appeared in leading film studies journals including Camera Obscura, Screen and Screening the Past.

[W]onderfully informative … Langford’s descriptions of the films under discussion are evocative throughout, and the flexibility of her approach to allegory allows for the cohabitation of vastly different films in each chapter, as well as the capacity to adopt distinct approaches for reading films by the same director.

• List of FiguresAcknowledgementsNote on TransliterationIntroduction – Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance1 Locating Allegory in Pre-Revolutionary Iranian Cinema2 The Allegorical Children of Iranian Cinema3 Allegory and the Aesthetics of Becoming-Woman4 Allegories of Love: The Cinematic Ghazal5 Tending the Wounds of the Nation: Gender in Iranian War Cinema6 Between Laughter and Mourning: About Elly as Trauerspiel of a GenerationCoda: Allegory Spills into the StreetsBibliographyIndex