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Neorealism, Iranian Style

Stephen Weinberger
Iranian Studies
Vol. 40, No. 1 (Feb., 2007), pp. 5-16
Stable URL: http://www.jstor.org/stable/4311872
Page Count: 12
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Neorealism, Iranian Style
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Abstract

One of the most remarkable developments in international film of recent memory is the emergence of a vibrant and creative film industry in Iran following the Islamic Revolution of 1979. In light of worldwide acclaim for the work of Iranian filmmakers, scholars have pointed to a strong similarity between the style of these films and those of post-war Italian Neorealist filmmakers. By analyzing the works of three of Iran's leading directors, Abbas Kiarostami, Mohsen Makhmalbaf and Majid Majidi and comparing them with the greatest Italian Neorealist film, "The Bicycle Thief," this study will attempt to show how Iranians are working within the Neorealist tradition while at the same time making it distinctively their own.

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