Narges Bajoghli on Paramilitary Cultural Producers of the Iran-Iraq War

In another installment of the Emerging Scholarship series, Narges Bajoghli talks about Paramilitary Media during and after the Iran-Iraq War. Bajoghli explains the rise of war veteran filmmakers who have produced alternative narratives about the eight-year conflict in order to better communicate the “truth of war” to a younger generation of Iranians.
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Blackness on the Iranian Periphery: Ethnicity, Language, and Nation in Bashu, the Little Stranger

Through Bashu’s attempts to assimilate into a village where his dark skinned features and Khuzestani Arabic denotes his displacement, Beizai’s film prompts criticisms of ethnocentric Persian nationalism and questions the experience of blackness in Iran, while neatly underscoring the tension between nationalism and gender.
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Urban Space and the Production of Gender in Modern Iran

Since the Revolution, Iranian urban fabric has been reshaped to both reflect and produce ideals of modern Islamic citizenship as understood by various political actors including the central government, the municipality, and other authorities. Tehran has been marked by a wholesale reconstitution and realignment of the public space along a gender binary model, such that many public institutions are segregated in some way and the morality police regulate spaces that lack a physical architecture of gender dichotomization.
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When Iran’s Abadan was Capital of the World

There was a time when the southwestern Iranian city of Abadan drew in immigrants from all over the world, and when its place as an oil city and harbinger of modernity seemed unmatched in the region. Today these memories often obscure the price paid for the construction of this cosmopolitan entrepôt. This piece is the second part in a series exploring how Abadan is imagined in Iran today.
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