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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
GIRLHOOD UTOPIAS: BIZARRE RESISTANCE IN IRANIAN-AMERICAN WOМEN CINEMA / ПОДРОСТКОВЫЕ УТОПИИ: «НЕОБЫЧНОЕ» СОПРОТИВЛЕНИЕ В ФИЛЬМАХ ИРАНО-АМЕРИКАНСКИХ ЖЕНЩИН
РЕЖИССЕРОВ

42.03.05 Медиакоммуникации Профиль «Кино и Медиа»

Tyumen 2023

MINISTRY OF SCIENCE AND HIGНER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of
Higher Professional Education
«UNIVERSITY OF TYUMEN» SCHOOL OF ADVANCED STUDIES
RECOMМENDED FOR А DEFENSE IN SEC

UNDERGRADUATE THESIS
GIRLHOOD UTOPIAS: BIZARRE RESISTANCE IN IRANIAN-AМERlCAN WOMEN CINEMA / ПОДРОСТКОВЫЕ УТОПИИ «НЕОБЫЧНОЕ» СОПРОТИВЛЕНИЕ В ФИЛЬМАХ ИРАНО-АМЕРИКАНСКИХ ЖЕНЩИН
РЕЖИССЕРОВ

42.03.05 Media Communications Major «Film and Media Studies

Tyumen 2023

TABLE OF CONTENTS
INTRODUCTION 4
CHAPTER 1. TEEN EDGE: GIRLHOOD CINEMA 9
1.1. CINEMA OF DISPLACEMENT: NEW IRANIAN CINEMA 10
1.2. «TIME OUT OF JOINT»: TEEN AGE 12
CHAPTER 2. DIASPORIC DISPLACEMENT: LIMINALITY AND
HYBRIDITY 17
2.1. A NEVER-ENDING TRANSITION 17
2.2. HYBRIDIZATION 20
2.3. BIZARRE DIMENSION: HETEROTOPIA 23
CHAPTER 3. OUT OF PLACE: «A GIRL WALKS HOME ALONE AT
NIGHT» 27
CHAPTER 4. OUT OF TOUCH: «CIRCUMSTANCE» 35
CHAPTER 5. SUR/VEIL/LANCE: UNDER COVER/ ON SCREEN 39
5.1. FROM VEIL TO SCREEN 39
5.2. SPECTATORSHIP: NOTES ON VISUAL CONTROL 41
CONCLUSION 46
BIBLIOGRAPHY 47

INTRODUCTION
Girls. Home. Night. Girls should be home at night, otherwise, they will get in trouble, won’t they? Yet, the films of Iranian-American women filmmakers, such as Ana Lily Amirpour’s «A Girl Walks Home Alone at Night» (2014) and Maryam Keshavarz’s «Circumstance» (2011), reverse this postulate and depict the circumstances in which home appears to be a troublesome place of confinement, whereas a dark cover of night grants a sip of freedom. Both films depict the instances of girls leaving home at night until they leave forever.
Generally, the theme of separation and leaving home is a commonplace for coming-of-age stories, but, in Iranian circumstances, it obtains a dramatic undertone: this is rather a rupture than a separation. Interestingly, both Keshavarz and Amirpour were born and raised outside Iran, so they do not have a direct experience of leaving their ethnic homeland—it is rather their families that migrated to the West. Nonetheless, both filmmakers restore their connection with Iran and Iranian culture by creating their diegetic worlds and at the same time recreate the moment of rupture and home leaving. In other words, instead of imagining and recreating the fantasy of their homecoming, the directors double the rupture by reclaiming the experience of home leaving as their own by the means of cinema. That is, speculatively speaking, even if they had been born in Iran, the circumstances they reveal in their films would have forced them to leave their homeland one way or another.
In the diasporic condition, however, the very notion of home is called into question. According to Stuart Hall, a British cultural theorist of Caribbean descent, the idea of homeland as a root of cultural identity is quite limiting [Hall, Morley, p. 209]. Namely, there is a belief that one must be deeply connected to an unchanging, essential core that is bound by authenticity and origins [Hall, Morley, p.209]. However, this conception is rather a myth that holds significant power in shaping our imaginations and understanding of history [Hall, Morley, p.209].
Born within the diaspora, Amirpour and Keshavarz, technically speaking, did never lose their home because they never had one—rather they are stuck in-between two homes—the Islamic Republic of Iran and the U.S. As such, diasporic experience is akin to perpetual feeling of displacement and cultural homelessness. In other words, inability to inhabit a place is a driving force in constituting a diasporic identity, which is constantly moving between the poles of local (Iranian) and host cultures. Stuck in-between, there is no possibility of returning home, and Keshavarz and Amirpour’s works reveal the specific reasons why.
One may ask then why on earth I, as a person having zero connection with the Iranian diaspora, could be interested in this topic. To begin with, it is fascinating to me that some of my very first classes at the university were dedicated to Marjane Satrapi’s Persepolis, an autobiographical graphic novel about Marjane’s coming of age against the backdrop of the Iranian revolution and the Iran-Iraq war. The novel and subsequent animated film drew for me (and I believe for the most of my peers) the curtain about the Iranian situation and, more specifically, about the position of Iranian women. Back then, I could not anticipate that my final university project would be dedicated to this subject.
Likewise, I could not envision that my research interest in the circumstance of Iranian women would coincide with the actual historical events. Namely, on September 16, the world was shaken by the demise of a twenty-two-year-old Iranian woman, Mahsa Amini, who died in the custody of Tehran’s Moral Police for inappropriately wearing her hijab. Mahsa’s death became a turning point that ignited the civil unrest in Iran that induced a significant media resonance worldwide. Thus, writing on the burning topic of Iranian women’s rights violations in 2022-2023 may be considered as an attempt to jump on the hype tidal wave circulating in the international media landscape—though, this is not the case, I believe.
Notably, Iranian protests have become a recurring phenomenon over the past few decades: Student Protest in 1999, the Green Movement of 2009, and November Protest in 2019. Yet, the current uprisal is something unprecedented due to its consolidatory power: started and led by women, it was supported by men. The slogan
«Woman, life, freedom» became international and united a solidary audience beyond the frame of Iran and the Iranian diaspora. Thus, the anti-hijab revolution grew into a viral movement, where people around the globe cut their hair, burnt hijabs, and demonstrated support via posts, videos, and public performances.
However, way before Iranian culture gained such mass interest from international audiences in the light of the recent dramatic events, Iranian cinema already has become an important player on the international stage of the film festival circuit. Moreover, «In 1998, Iranian cinema ranked tenth in the world in terms of output…» [Mottahedeh, p. 176]. All of it, of course, happened not without the governmental «support» that reinforced film production as a means of Islamic values propaganda, which, consequently, resulted in a high level of censorship known as the
«Rule of Modesty».
Despite and because of the harsh government oversight, Iranian filmmakers’ creativity and courage to circumvent political restrictions were pushed to the limits, which affected the cinematic style and content of their films. For instance, Jafar Panahi, perhaps the most titled Iranian director advocating for women’s rights and social equity in his films, is officially suspended from filmmaking and at the moment is under arrest. Yet, throughout the long period of political pressure, he has been continuing to create despite all prohibitions. As Anton Dolin, a Russian proclaimed film critic and ex editor-in-chief of Iskusstvo Kino (Film Art) magazine, states, transgressiveness has always been at the very heart of cinema, however, in the case of Panahi, the reckless thing is that, in his films, he crosses the line of the laws and social protocols established by Iranian theocratic regime but refuses to cross the borders of Iran [Долин,1 2023]. Dolin then eloquently provides a token example from Panahi’s recent film No Bears (2022): in a scene, when Panahi (performing himself) meets his assistant on the Iranian-Turkish border, he asks where was the border line
1 The current material (information) is produced and distributed by the foreign agent Anton Vladimirovich Dolin or relates to the activities of the foreign agent Anton Vladimirovich Dolin.
exactly, and the assistant replies that Panahi was literally standing on it—and the latter immediately steps back home [Долин,2 2023].
On the contrary, the diasporic situation is in itself organized around the borderline position. Amirpour and Keshavarz’s films therefore cannot be labeled as purely Iranian—they are rather hybridized products of their borderline position in- between the two homes. In Laura U. Marks’ words, diasporic cinema is always intercultural and obtains a contagious quality [Marks, p. xii]. By the notion of
«intercultural» she suggests a «movement between one culture and another, thus implying diachrony and the possibility of transformation» [Marks, p.6]. Namely, by introducing haptic visuality, a term that I will address in the later chapters, Marks insists that the contagious effect of intercultural cinema is akin to the sense of touch [Marks, p.7]. She emphasizes that the hybrid works of diasporic artists «challenge the separateness of cultures and make visible [...] power relations that seek to maintain this separation» [Marks, p. xii]. Thus, intercultural cinema, due to its haptic visuality, has a potential to «touch» its audiences and effect a transformation within them [Marks, p. xii].
Although I was keeping my eye on the Iranian situation for the whole year, its culture is still opaque to me. Nevertheless, I feel an inexplicable connection when I think of Mahsa, her life and unjust death that touches me to the core, not least because we are the same age. Born the same year, Mahsa and I were most likely raised among different cultures and, therefore, media landscapes. For instance, in 2000, a year of our birth, Panahi released «The Circle» about the mistreatment of women in Iran. Yet, the media milieu of my teen years was predominated by the hegemonic (American and West European) pop culture and chick flick cinema in particular. Panahi’s film, of course, was not designed to be a part of popular culture, but it was certainly designed to be banned in Iran—so I doubt if Mahsa watched it either. That is, perhaps, one more thing that might unite us, except that Mahsa did not have to watch movies to be informed about the position of Iranian women.
2 The current material (information) is produced and distributed by the foreign agent Anton Vladimirovich Dolin or relates to the activities of the foreign agent Anton Vladimirovich Dolin.
However, I do believe that cinema has the potential for doing something more than merely informing. According to Karl Schoonover and Rosalind Galt, «Cinema [...] is, rather, a queerly inflected medium» that «promises to knock off kilter conventional epistemologies» [Schoonover, Galt, p. 4]. Thus, world-making and world-reimagining are one of the primary cinema’s abilities that can offer a space for resistance.
The resistant potential of film worlds is, I believe, eloquently expressed in the films that I am going to analyze here. Namely, a queer Iranian melodrama and a black-and-white Iranian vampire spaghetti Western are the sites that emplace the hybrid (queer) experience of diasporic displacement. The hybrid condition of the filmmakers, I am going to argue, allows for hybridization (queering) of film genres, subjectivities, spaces, and the cinematic image itself. Hybridized diegetic worlds and places depicted in these worlds obtain, I am also going to denote, heterotopic qualities that allow to unveil concrete social-economic circumstances such consumption of natural resources and bodies in «A Girl Walks Home Alone at Night» and the corrupt power relations in «Circumstance» that make girls leave home. By doing so the films reveal their resistant potential. I intend to appeal to such fields as queer theory, diasporic cinema and national cinemas (Iran), genre theory, theory of liminality, theories of the cinematic image, and theory of spectatorship in order to make a comprehensive analysis of the case studies.

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