Since the beginning of his artistic career in 1959, Bahram Beyzaie's oeuvre has incorporated various aspects of Iranian, Euro-American, Chinese, Japanese, and Indian performance traditions and cinema. Beyzaie's work reformulates indigenous artistic and ritual forms and cultural narratives in plays and films whose emancipatory aesthetics have influenced several generations of writers, playwrights, and filmmakers. This book examines the origins and development of what the author identifies as Beyzaie's unique sense of creativity, using an interdisciplinary method of semiotic and cultural analysis to identify its manifestations in Beyzaie's films and plays of the 1960s and 1970s. It focusses on Beyzaie's early works, such as Downpour and Uncle Moustache , and how they engage with neglected aspects of Iranian culture to challenge mainstream approaches to writing and directing plays and films. In this way, the author argues, Beyzaie's work questions notions of being and belonging, by subverting exclusionist discourses on art, politics, society, culture, self and other, personal and collective identity, gender relations, intellectuals, heroes and villains, and children.

We need your support!
Make a donation to help us stay online
        
Bitcoin (BTC)
bc1q08g9d22cxkawsjlf8etuek2pc9n2a3hs4cdrld
	
Bitcoin Cash (BCH)
qqvwexzhvgauxq2apgc4j0ewvcak6hh6lsnzmvtkem

Ethereum (ETH)
0xb55513D2c91A6e3c497621644ec99e206CDaf239

Litecoin (LTC)
ltc1qt6g2trfv9tjs4qj68sqc4uf0ukvc9jpnsyt59u

USDT (ERC20)
0xb55513D2c91A6e3c497621644ec99e206CDaf239

USDT (TRC20)
TYdPNrz7v1P9riWBWZ317oBgJueheGjATm