Il cinema come campo di battaglia. Cineaste iraniane, la guerra con l’Iraq e la crisi in Afghanistan
Globally speaking, War Cinema is predominantly a male construction. Though Iranian cinema makes no exception, in this rich cinematic production some women directors have been trying to build a gender constructed narrative of war. The article explores how women artists are using external conflicts pr...
Full description
| Author: |
Anna Vanzan [VerfasserIn] |
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| Format: |
Electronic Article |
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| Language: |
English ; Spanish ; French ; Italian |
| Published: |
2015 |
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| Subjects: |
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| Containing Work: |
In: Storia delle Donne ; 10(2015), 1 volume:10 ; year:2015 ; number:1 |
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| Links: |
https://doi.org/10.13128/SDD-15573 [Kostenfrei] https://doaj.org/article/f5adfe1ff5664632b6e21b13b78cda79 [Kostenfrei] https://oaj.fupress.net/index.php/sdd/article/view/2514 [Kostenfrei] Journal toc [Kostenfrei] Journal toc [Kostenfrei] |
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| DOI / URN: |
10.13128/SDD-15573 |
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| Catalog id: |
DOAJ062289853 |
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| 520 | |a Globally speaking, War Cinema is predominantly a male construction. Though Iranian cinema makes no exception, in this rich cinematic production some women directors have been trying to build a gender constructed narrative of war. The article explores how women artists are using external conflicts problematically, as a metaphor for the internal war Iranian women have been fighting in the last decades. | ||
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