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- W4313555541 abstract "This article explores multifaceted associations between gender politics and veiling in Post-revolutionary Iran. It centers on how contemporary Iranian visual art explores the ambivalence of hijab and its significance operated in various dichotomies, such as the public/the private, the feminine/the masculine, and the visible/the invisible. To address the social, political, and psychological dimensions of women’s experiences in contemporary Iran based on gendersegregation rules in the revolutionary government’s nation-building strategies, I attend to the spatial metaphor of hijab and its transgendered appropriation in the films of Shirin Neshat and Jafar Panahi. I begin with reading Neshat’s two-channel video installations which invite viewers to witness the tensions between the genders through multi-sensory encounters with veiled women in public spaces. Then, I analyze Panahi’s Offside (2006), a film about Iranian girls whose masculine veils empower them to enter the male-only public arena. Through these case studies, this article argues that the visualization of veiling underscores the ambivalence about the nation-state mode of Islam and the vulnerability of ‘Iranianness’ reliant on the revolutionary regime’s gender policy." @default.
- W4313555541 created "2023-01-06" @default.
- W4313555541 creator A5086644438 @default.
- W4313555541 date "2022-12-31" @default.
- W4313555541 modified "2023-09-30" @default.
- W4313555541 title "이란 이슬람 공화국 시각문화에서 베일 쓰기의 재현 : 쉬린 네샤와 자파르 파나히의 영상 작품을 중심으로" @default.
- W4313555541 doi "https://doi.org/10.21299/jovc.2022.41.3" @default.
- W4313555541 hasPublicationYear "2022" @default.
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