This chapter reviews the significant societal and cultural transformations that occurred following the Iranian revolution and their subsequent influence on cinematic culture. It introduces and elucidates the concept of the “veiled voice,” a notion that aligns with the modesty regulations established in the early postrevolutionary period to control the portrayal of genders and their interactions both on-screen and off-screen. By examining the cinematic depictions of women within these modesty frameworks, the chapter explores how these regulations have shaped gender representation in Iranian cinema. It also addresses the scholarly research conducted on the portrayal of women in Iranian films, highlighting key findings and gaps in the scholarly literature. In addition, the chapter underscores the paucity of academic studies focused specifically on gendered voices in Iranian cinema. It discusses existing research on voices within the filmic world, exploring their association with gender roles and how these roles are constructed and conveyed through cinematic techniques and narratives. The chapter proposes a psychoanalytic reading of Iranian culture, a central theoretical framework for this research. It examines how psychoanalytic theory can be applied to understand Iranian cinema and proposes ways to decolonize this theoretical approach, making it more applicable and sensitive to the unique cultural context of Iran. In summary, this chapter sets the stage for the book’s exploration of gender and voice in Iranian cinema, providing a comprehensive overview of the cultural and cinematic shifts postrevolution and offering a critical lens through which to analyze these changes.

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Introduction: Her Veiled Voice

  • Raha Shojaei

摘要

This chapter reviews the significant societal and cultural transformations that occurred following the Iranian revolution and their subsequent influence on cinematic culture. It introduces and elucidates the concept of the “veiled voice,” a notion that aligns with the modesty regulations established in the early postrevolutionary period to control the portrayal of genders and their interactions both on-screen and off-screen. By examining the cinematic depictions of women within these modesty frameworks, the chapter explores how these regulations have shaped gender representation in Iranian cinema. It also addresses the scholarly research conducted on the portrayal of women in Iranian films, highlighting key findings and gaps in the scholarly literature. In addition, the chapter underscores the paucity of academic studies focused specifically on gendered voices in Iranian cinema. It discusses existing research on voices within the filmic world, exploring their association with gender roles and how these roles are constructed and conveyed through cinematic techniques and narratives. The chapter proposes a psychoanalytic reading of Iranian culture, a central theoretical framework for this research. It examines how psychoanalytic theory can be applied to understand Iranian cinema and proposes ways to decolonize this theoretical approach, making it more applicable and sensitive to the unique cultural context of Iran. In summary, this chapter sets the stage for the book’s exploration of gender and voice in Iranian cinema, providing a comprehensive overview of the cultural and cinematic shifts postrevolution and offering a critical lens through which to analyze these changes.