Shahrzad, a historical series directed by Hassan Fathi, reveals how the 1953 Coup is still the site of competing historiographical narratives.
Ahmad Muxtar’s Red Frame not only documents Baku’s rapid urban transformation, but also explores the ways our perceptions of urban space are framed by social, political, and economic forces.
With more and more tourists visiting Iran every day, Ajam and See You In Iran have teamed up to bring you a travel series to Iran’s diverse cities. This first installation focuses on the vibrant urban life of Tehran, Iran’s largest city and capital.
Turkey’s Game of Thrones mania is due to one college student. He goes by the Twitter handle of @esekherif_.
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.
These types of documentary ventures, both filmic and photographic, identify a racialized community as their subject, visibly recognizable by their visual characteristics. Despite this clear reliance on race, there is rarely much attention given to the issue of race itself. Instead, most tend to emphasize successful assimilation predicated on nationalist sentiments and champion the diversity of these communities. By ignoring race and its relationship to photography, we overlook crucial elements that have structured similar stories in the past.