University of British Columbia

Faculty of Arts, Asian Studies Department

ASIA 394 (3): Post-Revolutionary Iranian Cinema
Term 1 (Fall 2018)

Facing Mirrors (2011), dir. Negar Azarbayjani

Mostafa Abedinifard, PhD || E-mail: mostafa.abedinifard@ubc.ca || Office: Room 172, Choi Building
Lecture Time: Mon/Wed 4:00-6:00 p.m.|| Lecture Locations: Mon: A203 Buchanan/ Wed: D200
Chemistry || Office Hours: M: 2:30-3:30 p.m.

Course Overview This course will introduce students to one of the most critically acclaimed cinemas in
the world today, that is, Post-Revolutionary Iranian cinema, through the thematic lens of gender,
sexuality, and diversity. During the semester, the students will watch and practice reading critically a wide
variety of films by both world-renowned and new directors from Iran and the Iranian diaspora, focusing
on the films’ representations, constructions, and contestations of gender, sexuality, race, ethnicity, class,
religion, ability, and bodily normativity. Film screenings, class lectures and discussions, post-screening
mini-quizzes, and pertinent readings (on Iranian cinema, society, and culture and on critical diversity
studies) will provide the students with the conceptual tools and the skill set required to complete their
major group assignment. Despite the course’s focus on the post-revolutionary era, and in order to provide
sufficient context, the course will begin with an overview of Iranian cinema from its inception to the 1979
Revolution. The course argues that despite all sociocultural and political challenges and restraints, an
ever-growing thread of filmmakers within the Post-Revolutionary Iranian cinema has been effectively
foregrounding and tackling vital issues concerning social and gender democracy in Iran. Importantly,
these filmmakers voice no unified perspective, but a variety of perspectives, on the questions of gender,
sexuality, and diversity. Note: This course presumes no prior knowledge of Iranian cinema/culture or
gender and sexuality studies on the part of the students.
Learning Outcomes
By the end of this course, students will be able to:
• Demonstrate an understanding of Iranian cinema in general, and of post-revolutionary Iranian cinema
in particular, with a special focus on a flourishing movement—particularly since 1990s—which is
interested in depicting and foregrounding issues related to gender, sexuality, class, race/ethnicity, ability,
etc.
• Identify some of the leading and promising directors associated with the above movement;
• Produce an effective documentary review;
• Closely read and analyze instances of (post-revolutionary) Iranian cinema in light of the social, cultural,
and political context of Post-Revolutionary Iran and key concepts and theories in critical diversity
studies;
• Conduct independent and group research and writing on Iranian cinema through extracting and
processing information from cinematic and secondary sources; make informed choices of representative
instances of Iranian cinema based on the course’s thematic focus; justify the selections through oral
group presentations; and write critical essays on their select films. (These latter aims relate to the major
assignment of the course: collective production of a Digital Anthology of Critical Essays on Post-Rev
Iranian Film.)
Assignments and Assessment
The final outcome of this course will be a collectively authored Digital Collection of Essays on Post-Rev
Iranian Film, with a focus on gender, sexuality, and diversity. As such, all assignments are designed to
help you to contribute to this final outcome. No textbooks are to be purchased for this course. However,
to complete the requirements of the course, students must subscribe to the UBC-sanctioned IMVBOX
film database. (Please see below for more details.) More detailed instructions and rubrics for all
assignments will be available on Canvas, in the “Assignments” section.
Note I: Besides the following instructions, full details and rubrics for all assignments will be
available on Canvas. While marking your assignments, I presume you have visited the
complete versions of the instructions on Canvas.
Note II: Canvas provides a feature where, in a private environment, group members can
share files, discuss ideas, etc. with each other while working on their projects. I highly
recommend your using that feature.
Note III: To complete your group project effectively, you are strongly advised to come and
visit me, preferably as a group, during my office hours, so I can help you with any questions/
concerns you may have as you and your friends continue to work on your group project.
Note IV: Group members are expected to bring to my attention, as early as possible, any
serious complaints they may have concerning any group member’s failure to cooperate or
perform effective teamwork.

1) Attendance & Participation (throughout) 10%

Attendance is required. All sessions include film screenings, lectures, discussions, and/or activities
designed to help you grasp the course’s key concepts and the necessary skills to complete your
assignments effectively. You may miss two sessions of class for any reason. If you miss more sessions, I do
not distinguish between excused and unexcused absences. For my detailed policy about “Attendance,
Participation, and Tardiness,” please see “Instructor’s Course Policies” below. For special circumstances,
please see “Conflicting Responsibilities” under “UBC Policies” below.

2) Post-Screening Mini-Quizzes (14 total) 28%

Most movie titles on the syllabus are marked with asterisks. When watched (in or outside class), these
movies are followed by in-class mini-quizzes, each quiz consisting of two to four short-answer, multiple
choice, and/or fill-the-blank questions, taking about 5 minutes to complete. The questions will not be
analytical, but fact-based. This assignment is intended to help you watch more attentively as well as
prepare you for subsequent film discussions in class. All quizzes will be peer-marked in class, under my
supervision.
3) Documentary Review & Recommendation (500 words; due 1 Oct.) 10%
This assignment asks the students to review and recommend a documentary they have watched and liked
on IMVBOX. The database contains numerous Iranian documentaries with English subtitles (marked
with “CC”). The students can choose any documentary, regardless of its pertinence to gender, sexuality,
and/or diversity. This assignment aims at furthering the students’ knowledge of various aspects of Iranian
society and culture. Reasons for recommending a documentary could vary from student to student: the
documentary might have helped the student to grasp a novel aspect of the Iranian culture; the student
may have found the documentary helpful in refuting a widespread misconception about Iran/Iranians; it
might feature characters who the student thinks deserve to be praised/modelled on a transnational/global
level; etc. (You are not certain where to start for choosing a documentary? Almost all movies on
IMVBOX come with a “storyline” that provides a synopsis of the movie.) Students may use the tips
offered in this video to create their Review. Reviews are graded based on efficient summarization of plot,
focus maintenance, sufficient details/examples, and grammar and mechanics. The students will follow the
MLA format and page layout; however, the assignment does not require using in-text citations/
bibliographies.
4) Digital Collection of Essays on Post-Rev Iranian Film (Group project)
This overarching assignment is the backbone of our course. The aim is, for the class, to produce a Digital
Anthology of Critical Essays on Post-Rev Iranian Film, with a thematic focus on gender, sexuality, and
diversity. A copy of the finalized Anthology, with all participating students’ names mentioned as its
Contributing Authors, will be shared with them at the end of the semester. The assignment requires
research and writing based on “primary” and “secondary” sources. The students will choose their primary
sources (= pertinent movies) from IMVBOX. For secondary sources, the students will use relevant
sources on critical diversity (and Iranian cinema) which help them in writing their critical essays. The
students will work in groups of 3-4. Once the groups are formed (during the second week of the
semester), each group will be assigned a general theme (e.g., women with non-normative bodies;
masculinity as honour; ethnic and racialized masculinities; transgenderism; etc.). Each group member will
be responsible for choosing ONE movie (on IMVBOX) pertinent to the theme assigned to their group,
and writing a critical essay (of 700- to 850-word essay) on that movie, focusing on the theme assigned to
the group, and according to the MLA citation style. The films reviewed in the same group must be
different. The assignment consists of the following three steps:
Annotated Bibliography (due 17 Oct.) 10%
This first step requires that each group create an Annotated Bibliography of useful
“secondary sources” pertinent to the theme assigned to it. (At this stage, group members
could also select their films, although it is not mandatory; it will be so in the next
stage.) Each student will be responsible for contributing TWO scholarly sources to the
group’s Annotated Bibliography, which will then be submitted via Canvas by a group
member on behalf of the group. This assignment’s grade will include a group component
(4%) and an individual component (6%). The overall criteria for judging this assignment
include the sufficient quantity of sources, the quality and reliability of sources, the variety
of sources, the writing fluency of annotations, writing mechanics, and adherence to the
MLA style.
Group Video Presentation (due 7 Nov.) 15%
Having selected their movies (based on their ‘theme’), and having consulted
their secondary sources (gathered in the Annotated Bibliography), the members of each
group will record a 6- to 8-minute video presentation (outside class). In the video, they
introduce themselves, briefly discuss their ‘theme,’ and explain how their project is going on
so far; what particular films they have chosen; who will be responsible for which movie;
and how each student thinks her/his chosen movie is related to the theme assigned to the
 group. (Tip: You could format your video as an “interview,” having someone ask you and
your group members about your project, to make it more interesting.) The grade for the
video presentation will include a group component (5%) and an individual component
(10%). The GVP will overall be graded based on comprehensive coverage of the above
topics; clarity and quality of the image and the sound; time management; length and equal
participation of all group members; effective eye contact; adequate speaking pace; and
articulate speech.
In-Class Peer-Review Workshop (28 Nov.) 2%
On the last day of class, students will bring to class the drafts of their Final Work for peer-
review under my supervision. Students will receive 2 marks for their active presence during
this session.
Final Work (due 5 Dec.) 25%
The Final Work include the completed Critical Essays (of 700 to 850 words) the members
of each group have written on their select movies based on the theme(s) assigned to their
group, and using relevant secondary sources (for instance, those already introduced in their
Annotated Bibliography. The essays will adhere to the MLA style. Each group’s set of
reviews will then comprise one Chapter in our finalized Digital Collection of Essays, copies
of which I will share with all contributing students. The Final Work will be judged
individually, based on effective introduction and conclusion; effective summarization of
the plot; focus maintenance; sufficient supporting points/examples; coherence and
organization; effective use of the secondary sources; the MLA style; and grammar and
mechanics.

Grading Rubric
GRADE PERCENT LEVEL OF ACHIEVEMENT
A+ 90-100 Exceptional
A 85-89 Exceptional
A- 80-84 Exceptional
B+ 76-79 Competent
B 72-75 Competent
B- 68-71 Competent
C+ 64-67 Adequate
C 60-63 Adequate
C- 55-59 Adequate
D 50-54 Adequate
F 00-49 Inadequate

Required Readings/Watching
All required and recommended readings will be available either online or through the UBC Library’s
Online Course Reserve System (LOCR) at courses.library.ubc.ca (accessible via your CWL). I have also
provided a link to LOCR on Canvas. Some sources with hyperlinks are directly accessible through the
Syllabus itself. Students must come to class having completed the required readings and/or watchings for
the day.
Many in-class and out-of-class screenings as well as the completion of all assignments for this course will
be dependent on the students’ having full access to the UBC-sanctioned IMVBOX movie database, which
contains hundreds of Iranian movies with English subtitles. To offset the costs associated with this
requirement, no textbooks are to be purchased for this course.
 Recommended Sources
Recommended readings and movies are for your information only. You are welcome to use them fro your
projects as well. However, they will not be discussed in class. The following books, and some other
pertinent sources, have also been put on reserve through the UBC library:
On Iranian cinema
1. Naficy, H. A Social History of Iranian Cinema: The Globalizing Era, 1984-2010 (online/UBC Library)
2. Dabashi, H. Close-Up: Iranian Cinema, Past, Present and Future. (LOCR)
3. Tapper, R, ed. The New Iranian Cinema: Politics, Representation and Identity. (LOCR)
4. Mottahedeh, N. Displaced Allegories: Post-Revolutionary Iranian Cinema. (online/UBC Library)
5. Mirbakhtyar, Sh. Iranian Cinema and the Islamic Revolution. (LOCR)
6. Atwood, B. Reform Cinema in Iran: Film and Political Change in the Islamic Republic. (online/UBC Library)
7. Decherney, B., and B. Atwood. Iranian Cinema in a Global Context: Policy, Politics, and Form. (online/UBC
Library)

On gender and sexuality (in Iran)

1. Afary, J. Sexual Politics in Modern Iran. (online/UBC Library)
2. Connell, R. Gender in World Perspective. 2nd ed. (LOCR)

On writing about film

1. Corrigan, T., and G. Corrigan. A Short Guide to Writing about Film. 9th ed. (LOCR)

Screening and Reading Schedule

This schedule is subject to change. Changes, if any, will be announced in class. It is your responsibility to
keep up with the course schedule and any changes made to it. You may do so by ensuring that you make
every effort to attend each class. All out-of-class work (including readings and film watching) should be
completed in advance of the class day on which they are listed in the syllabus.

Week Date Topics and In-Class Required Readings/Movies

Screenings (unless otherwise
mentioned)
One 5 Sept. Introduction / Syllabus (Canvas)
Syllabus
Two 10 Sept. Iran: A Required
Cinematographic •“Iranian Cinema: Before
Revolution (2007), dir. the Revolution,” Sh.
N.T. Homayoun Parhami
•“The History of Iranian
Group work: A short Cinema,” M. Mehrabi
survey
Recommended
“On Modernity and the
Making of a National
Cinema” H. Dabashi
 12 Opening masterpiece: Required
(In-class screening) • “Iranian Cinema: Art,
Bashu, the Little Society, and the State,” Z.
Stranger (1989), B. Mir-Hosseini
Beizaei • “Transcending the
Limitations,” Rezai-Rashti
• “Appendix,” H. Naficy
Recommended
• “Depiction of Women in
Iranian Cinema,” Derayeh
• “Chaste Dolls and
Unchaste Dolls,” Lahiji
• “Under Cover, On Screen”
H. Naficy
Three gheirat & the Iranian Required (17-19)
Hegemonic • * Gheysar (1969),MKimiai
Masculinity • * Two Women (1998), T.
Milani (imvbox)
17 Sept. Quizzes 1 & 2 • “Excerpts,” Z. Tizro
[Gheysar & Two (50-53)
Women] • “Relations among
* The Salesman [in- Masculinities,” R. Connell
class screening] • “Ridicule, Gender
(2017), A. Farhadi Hegemony …” M.
Abedinifard (pp. 238-9)
19 Quiz 3 [The Salesman] Recommended
Discussion: the three • “Real Men," Ch. Gow
previous films • Nesa (2000), L. Khaledi
(imvbox)
Four Male Privilege || Required (24-26)
Pariah Femininities • “Privilege, Oppression,
and Difference,” A.
24 Sept. * The Circle (2000), Johnson
Jafar Panahi Recommended
Quiz 4 [The Circle] • “Recovering the Feminine
Other,” M. Schippers

26 Discussion, The Circle Recommended Movies

(available on imvbox)
Tales (2014), Banietemad;
The Hemlock (1998);
Afkhami;
Nahid (2015), Panahandeh;
The Ladies (2003), Afzali;
The Other Wife (2007),
Alvand;
Tambourine (2008), P.
Bakhtavar
Five 1 Oct. Documentary Review Required (1-3)
Due, I Oct. (Canvas)
* Fireworks * A Separation (2011), A.
Wednesday (2006), Farhadi (available online
Farhadi through UBC library)
• (Canvas) “Asghar
3 Quizzes 5 & 6 [A Farhadi’s Nuanced
Separation & Fireworks Feminism,” M. Abedinifard
Wednesday]
Discussion: both films
Six 8 Oct. 8 Oct.: Thanksgiving
Day. University
Closed
Home
|| Domesticity Required (10 Oct.)

10 Quizzes 7 & 8 [As * As Simple as That (2008),

Simple as That & R. Mirkarimi (imvbox)
Mom’s Guest] * Mom’s Guest (2004), D.
Discussion: both films Mehrjui (imvbox)
Seven Infertility and
Gender
Required (15-17)
15 Oct. * Leila (1996), • “Infertile in Iran,” E.
Mehrjui O’Donnell
• “Infertility in the Middle
17 Oct. Quiz 9 [Leila] East,” M. J. Babic
Discussion: Leila • (Excerpt from a memoir)
Annotated Jalal Al-e Ahmad’s A Stone
Bibliography Due, 17 on a Grave (LOCR)
Oct. (Canvas) • “Infertility and Body
Image”
Eight Gender & Disability

22 Oct. * Here Without Me Required (22-24)

(2011), B. Tavakoli • “Disability & Body
Quiz 10 [Here Without Image”
Me] • “The Unique Body Image
Challenges Related to
24 Quiz 11 [The Beautiful Disablity,” by Ch. Gerber
City] • * Beautiful City (2004),
Discussion: both films dir. Farhadi

Recommended (for gender

& disability/ bodily
normativity)
• Bemani (2002), Mehrjui
• Gilaneh (2004),
Banietemad
• One Two One (2011), Mania
Akbari
Nine Ethnic/Racialized
Masculinities
Required (29-31)
* Heiran (2009), Sh.
29 Oct. • “Iran: The Forgotten
Arefpour
Afghan Refugees” (1986)
• “Afghans in Iran: No SIM
card, no house, no
rights” (2017)
• Afghan Children (30 min.)
Quiz 12 [Heiran]
31 M. Farid (imvbox)
Discussion
Ten Heteronormativity Required
and Abject Affects • “Circumstance Movie: How
Lesbians Live in Iran,” by O.
5 Nov. * Circumstance Memarian
(2011), M. • Yousef and Farhad (short
Keshavarz graphic novel)

7 Nov. Quiz 13 Recommended

[Circumstance] • Unveiled (movie), dir.
Discussion Angelina Maccarone
• “The Abject Outsider:
Group Video ‘The Story of Two gay
Presentation Due, 7 Men’,” C. Yaghoobi
Nov. (Canvas)
• “LGBTQ Rights in Iran”
 Eleven 12 Nov. 12 Nov.: University
Closed. In lieu of
Remembrance Day.

14 How to Write a Good

Critical Essay
Twelve Nov. 19 * Facing Mirrors Required
(2011), N. • Short story: “Half White
Azarbayjani Half Violet,” M. Mohebali
• (Canvas) “Transgendered
21 Quiz 14 [Facing Subjectivities in
Mirrors] Contemporary Iran” M.
Discussion Abedinifard
• “Trans[ition] in Iran,” R.
Terman
Recommended
Transsexual in Iran or Be
Like Others (2008), T.
Eshaghian
Thirteen And Love … Recommended (imvbox)
• The Blue Veiled (1995),
26 Nov. Closing masterpiece: Banietemad
Through the Olive • The May Lady (1998),
Trees (1994), A. Banietemad
Kiarostami • Nahid (2015), I.
Panahandeh

28 Nov. Last day of class || The students will

Peer-Review bring in drafts of
Workshop their Final Work for
peer-review.
(Handout will be
Final Work Due 5 distributed.)
Dec. (Canvas)

Instructor Course Policies

Students are responsible for prompt and consistent attendance, polite and attentive behavior, and
fulfillment of the entirety of the course work, including all readings and assignments. Proper
respect should be shown to your fellow students. Students are encouraged to discuss any matters
with the instructor, who in turn will be reasonable. However, students who do not put a sincere
effort into the course should consider their part in the education process. If a student is disruptive
in her/his behaviour, s/he may be asked to leave the classroom.

E-mail Correspondence Students must communicate with the instructor using their UBC e-mail
accounts. I generally respond to e-mail in a timely fashion; however, it is professional to assume
that they will be responded to within 24 to 48 hours, and you should consider that when sending
messages. I generally do not respond to e-mail on the weekends, but I will do so promptly on
Monday. Take as much care with your email communications as you do with written assignments.
Be sure to write clearly and to proofread and edit your messages. Avoid abbreviations and other
texting shortcuts. Please remember that in email messages, as in your verbal communication with
your instructor, your tone should be self-possessed and respectful.

Attendance, Participation, and Tardiness Course knowledge is cumulative, so the writing

assignments test the skills acquired from the screenings, the readings, and the material learned in
classes throughout the semester. To do well in the course, students need both to complete readings
on time and to attend to class discussion. Therefore, I will call the roll every class to keep track of
your attendance record. You may miss three sessions of class for any reason, without penalty—if
you miss more sessions, I do not distinguish between excused and unexcused absences. Please note
that 10% of your grade will go towards attendance and participation. You can help make this class
more fun and interesting by sharing in the discussion! Coming to class late and leaving early are
disruptive acts and highly discouraged. Also, repeated tardiness will negatively affect your
participation grade. If you must be late or leave early in a class, please let me know in advance and
come in/leave quietly. You are responsible for all material covered or handed out if you are absent
from class. It is a good idea to ask a classmate ahead of time to collect handouts/notes for you if
you must miss that class.

Technology in the Classroom Students are welcome to use laptops or tablets in a manner
appropriate to a classroom setting, that is, as note-keeping devices and sources of information
related to the class topic. Inappropriate use of such devices can be very distracting to other
students, which includes text messaging, using social media, viewing multimedia, and web-
browsing irrelevant to class work. If it appears that the device is distracting to either the instructor
or any of the students, I will ask that the device be turned off. Repeated problems may be
considered disruptive. Cell phones are to be turned off or put on silent during class, except under
exceptional circumstances in which approval has been given by the instructor in advance.

Assignments Home assignments are due online, through Canvas, by 8:00 p.m. on the due date,
and e-mailed assignments will not be accepted. (For my “Late Work” policy, please see below.) All
essays must be typed, double-spaced, and in a standard 12-point font. Essay assignments must
follow the MLA format. Please read carefully the guidelines for each assignment on Canvas.
Always keep a copy of the assignments you hand in. For the Review and the Final Work
assignments, are to be submitted on Canvas, you are required to attach them as a Microsoft Word
or Pages format document only. No other formats will be accepted. Also, you are responsible to
make sure the attached document is not an empty file. Receiving an empty file may result in a zero
on the assignment.

Late Work Group projects leave little room for late work submission. However, I have tried to
come up with a fair policy. If received within one week from the original deadline, late works will
still be marked, with no grade deduction, but no feedback/notes will be provided to the group
members. No assignments will be accepted after the one-week period past the due date. In-class
work, if any, is not eligible to be turned in late. If you miss class, you miss the work.

Turnaround Time Normally, you can expect to have written assignments graded and commented
on within two weeks.

Course Evaluation Please complete the online student evaluation form with courtesy and
diligence. This is your opportunity to communicate your view of both the course and the instructor
and to offer suggestions about content and delivery. In consultation with the Chair of the Asian
Studies Department, instructors review your evaluations and consider making changes based upon
your constructive comments. The more careful, clear, and thoughtful your written comments are,
the more likely it is that they will be given serious attention.

UBC Policies

Academic Integrity at UBC The academic enterprise is founded on honesty, civility, and integrity.
As members of this enterprise, all students are expected to know, understand, and follow the codes
of conduct regarding academic integrity. At the most basic level, this means submitting only
original work done by you and acknowledging all sources of information or ideas and attributing
them to others as required. This also means you should not cheat, copy, or mislead others about
what is your work. Violations of academic integrity (i.e., misconduct) lead to the breakdown of the
academic enterprise, and therefore serious consequences arise and harsh sanctions are imposed.
For example, incidences of plagiarism or cheating may result in a mark of zero on the assignment
or exam and more serious consequences may apply when the matter is referred to the Office of the
Dean. Careful records are kept in order to monitor and prevent recurrences. A more detailed
description of academic integrity, including the University’s policies and procedures, may be found
in the UBC Calendar: Student Conduct and Discipline.

Academic Accommodation for Students with Disabilities Academic accommodations help students with
a disability or ongoing medical condition overcome challenges that may affect their academic
success. Students requiring academic accommodations must register with Access & Diversity. A&D will
determine that student’s eligibility for accommodations in accordance with Policy 73: Academic
Accommodation for Students with Disabilities. Academic accommodations are not determined by your
instructors, and instructors should not ask you about the nature of your disability or ongoing medical
condition, or request copies of your disability documentation. However, your instructor may consult with
Access and Diversity should the accommodations affect the essential learning outcomes of a course.
Conflicting Responsibilities UBC recognizes that students may occasionally have conflicting
responsibilities that affect their ability to attend class or examinations. These may include: representing
the University, the province or the country in a competition or performance; serving in the Canadian
military; or observing a religious rite. They may also include a change in a student’s situation that
unexpectedly requires that student to work or take responsibility for the care of a family member, if these
were not pre-existing situations at the start of term.
Students with conflicting responsibilities have a duty to arrange their course schedules so as to avoid, as
much as possible, any conflicts with course requirements. As soon as conflicting responsibilities arise,
students must notify either their instructor(s) or their Faculty Advising Office (e.g. Arts Academic
Advising) and can request academic concession. Instructors may not be able to comply with all such
requests if the academic standards and integrity of the course or program would be compromised.
Varsity student-athletes should discuss any anticipated and unavoidable regular-season absences with the
instructor at the start of term, and provide notice of playoff or championship absences in writing as soon
as dates are confirmed.
Religious observance may preclude attending classes or examinations at certain times. In accordance with
the UBC Policy on Religious Holidays, students who wish to be accommodated for religious reasons must
notify their instructors in writing at least two weeks in advance. Instructors provide opportunity for such
students to make up work or examinations missed without penalty.