ABSTRACT

Despite the emergence of insightful scholarship in Iranian cinema in the twenty-first century, there is a paucity of critical studies on the crossroad between cinema and national identity, particularly how the latter is constructed, (re)inscribed, and refashioned through the structures of feeling the former concocts. A particular case in point is the directorial oeuvre of Dariush Mehrjui, an auteur whose feature films play a vital role in nurturing and (re)fashioning national identity on the silver screen. This article examines the projection of a distinct national identity in Pari (1995), an adaptation of Salinger’s Franny and Zooey. It builds upon the nexus between national identity and cinema, theoretically advanced by Michael Billig and Tim Edensor, to delineate the articulation of an alternative ‘Iranian-ness’ texture in Iranian cinema. Pari, a quest-driven narrative in which the protagonist abdicates material life to achieve spiritual salvation, is an interpellative dream-text serving to espouse how the refashioned national identity should be conceived and emulated.

摘要

尽管在 21 世纪伊朗电影中出现了富有洞察力的学术研究，但对于电影与民族认同之间的十字路口，尤其是后者如何被构建、（重新）铭刻和通过感觉以前的编造。一个特别的例子是 Dariush Mehrjui 的导演作品，他的故事片在银幕上培养和（重新）塑造国家认同方面发挥了至关重要的作用。本文考察了Pari (1995) 中对独特民族身份的投射，这是对塞林格的Franny 和 Zooey的改编. 它建立在迈克尔·比利格和蒂姆·埃登索在理论上提出的国家认同与电影之间的联系之上，描绘了伊朗电影中另一种“伊朗性”纹理的清晰表达。Pari是一个探索驱动的叙事，主人公放弃物质生活以实现精神救赎，是一个询问式的梦想文本，旨在支持如何构思和效仿重塑的民族身份。