Farshid Kazemi – författare

Combining Lacanian psychoanalytic theory, Iranian Shi'ite thought, and Islamicate sexualities, Iranian Cinema with Psychoanalysis: The Interpreter of Desires provides a groundbreaking analysis of the logic of desire and sexuality in key films of contemporary Iranian cinema, arguing that there is a profound, albeit surprising, correlation between post-revolutionary Iranian cinema and psychoanalysis that has remained unthought.Looking through the prism of psychoanalysis, Farshid Kazemi argues that censorship on the representation and expression of sexual desire in Iranian films has, contrary to the desired effect, produced a cinema of desire. This book is the first to provide an analysis of the unconscious structure of desire and sexuality operative in post-revolutionary Iranian cinema, demonstrating that psychoanalytic literature is uniquely positioned to shed light on this aspect of film. Kazemi uncovers the hidden libidinal economy of Iranian cinema by exposing the fact that despite the State censor’s desire to suppress desire, it has inadvertently inscribed desire in its formal structure. The book offers a compelling and innovative examination of Iranian cinema through a psychoanalytic lens, contributing significantly to the field of film studies.Iranian Cinema with Psychoanalysis will be of great interest to academics and scholars of film studies, psychoanalytic studies, Lacanian theory, film theory, Iranian cinema, global cinema, Iranian studies, and Middle Eastern studies.

Combining Lacanian psychoanalytic theory, Iranian Shi'ite thought, and Islamicate sexualities, Iranian Cinema with Psychoanalysis: The Interpreter of Desires provides a groundbreaking analysis of the logic of desire and sexuality in key films of contemporary Iranian cinema, arguing that there is a profound, albeit surprising, correlation between post-revolutionary Iranian cinema and psychoanalysis that has remained unthought.Looking through the prism of psychoanalysis, Farshid Kazemi argues that censorship on the representation and expression of sexual desire in Iranian films has, contrary to the desired effect, produced a cinema of desire. This book is the first to provide an analysis of the unconscious structure of desire and sexuality operative in post-revolutionary Iranian cinema, demonstrating that psychoanalytic literature is uniquely positioned to shed light on this aspect of film. Kazemi uncovers the hidden libidinal economy of Iranian cinema by exposing the fact that despite the State censor’s desire to suppress desire, it has inadvertently inscribed desire in its formal structure. The book offers a compelling and innovative examination of Iranian cinema through a psychoanalytic lens, contributing significantly to the field of film studies.Iranian Cinema with Psychoanalysis will be of great interest to academics and scholars of film studies, psychoanalytic studies, Lacanian theory, film theory, Iranian cinema, global cinema, Iranian studies, and Middle Eastern studies.

There is something weird and eerie going on in the oneiric Iranian ghost-town Bad City. A mysterious female vampire, clad in a long-black veil, imbued with occult and erotic power, has newly arrived in town and is summarily dispensing with its unsavory characters. Through a chance encounter in a night of luminal darkness, an eternally dark romance begins – baptized in love’s blood. Shot in dazzling anamorphic black and white cinematography and accompanied with an intoxicating and mesmeric soundtrack, Ana Lily Amirpour’s debut feature film A Girl Walks Home Alone At Night (2014), was an instant popular and critical success. Dubbed ‘the first Iranian vampire western’ the genre-bending film is a pastiche of genres such as vampire cinema, gothic and horror films, spaghetti westerns, graphic novels, and Iranian cinema; yet the film stands as a new vampire fairy-tale with a unique style all its own. The first full-length study dedicated to the film since its release, this book in the Devil’s Advocate series provides a unique approach to the film situated within three theoretical coordinates: the vampire genre, psychoanalytic (film) theory and German Idealism.