Bahram Beyzaie

Despite enormous obstacles, immigrant Iranian Filmmakers, within a few decades (after the Iranian revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them.  These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran.  In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week:  What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment?  Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran?  And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran?