2. No One Knows About Persian Cats (2009) – Bahman Ghobadi 10 (2002) – Abbas Kiarostami Offside (2006) – Jafar Panahi The Day I Became A Woman (2000) – Marzieh Meshkini FILMS

3. Government censor all media in Iran, forcing independent filmmakers to distribute their movies via pirate or bootleg DVDS. Classic and contemporary Hollywood productions are shown on state television. This is shown in No one Knows about Persian cats where nadir is distributing DVD’s. Film makers also choose to distribute their products at western film festivals 10 won the Palm D’Or at Cannes CENSORSHIP

4. Sharia Law predates cinema – it’s not made for the issues that arise with films An example of this is how woman have to wear facemasks even in films because the ‘stage’ is deemed a ‘public space’ because other people see you. SHARIA LAW

5. Woman not treated fairly Woman’s Rights Woman’s Struggles These are shown in 10 where to get a divorce a woman has to make up a story about her husband beating her, or make up a story about her husband being on, or addicted to, drugs. It is also shown in the Day I became a woman where a husband divorces his wife whilst riding on a horse because she was riding on the devils bicycle. This is shown in offside where woman aren’t allowed to go to a football match Position and role of woman in films GENDER INEQUALITY

6. Films can’t challenge the government Corruption From government Ministry of culture Law enforcement You see this in ‘No One Knows About Persian Cats’ where Mash David is apprehended by the local police. Also in You Don’t Know About Persian Cats we see the scene in which Nadir is prosecuted for selling bootleg cd’s and dvd’s. The minister tries to confiscate all of his dvd’s, give him a hefty fine aswell as 50 lashes, before changing his mind and leaving it with just a fine. Rebellion This is shown in Offside where the woman try to watch the football by dressing up as men. It’s also shown in no one knows about Persian cats with the underground music movement GOVERNMENT PROPAGANDA

7. Dogma 95 This although not an influence in Iranian cinema shares similar characteristics with features like a single camera used, handheld and the use of raw film, for example in 10. Neorealism In 10, there is an ensemble cast these aren’t real actors, they are working in natural lighting alongside natural settings. Also the director, Abbas Kiarostami, asked Mania to not drive near any recognizable landmarks or settings in Tehran. Similar to Neo-Realism is in You Don’t Know About Persian Cats, all of the bands that are featured in it are real life bands. The scene where the Iranian rapper is in a music video is also similar to Neo-Realism due to the music video being real. Other similarities include the handheld camera in all 4 of the films, as well as the single camera angle in 10. EXPERIMENTAL

8. Offside shot at real event live. This meant there was less planning and the acting was more spontaneous and experimental Improvisation Improvisation was a common topic in films like 10 where actors where given a topic by kiarostami to talk around. Domestic Settings Domestic settings reduce the idea of watching a film for escapism but at the same time encourages audiences to watch films because they can relate to them It also encourages the idea the film is for the people of iran to highlight them and their problems as oppose to for them to watch. Iranian Society These is a strong sense of national pride that, this represents Iranians ideology's that although they are against the government, they love their country, they are nationalists.­­ EXPERIMENTAL CONT.

9. Escapism isn’t a main motivation for audiences to watch films. The films are set in domestic settings with everyday endings. The day I became a woman could be the only film regarded as having some escapism in it due to the surreal context of the final chapter. Western Target Audience The films are commonly aimed at western audiences; this is partly due to the directors knowing the films would be banned in Iran but also because they aim to highlight national problems and issues to foreign audiences. AUDIENCE

10. Audiences are generally active Most Iranian films require a more active audience for example in Ten most passive audiences would find it hard to follow. You need to be able to link and understand Iranian issues to understand what is going on and appreciate the film. No One Knows About Persian Cats is the film with the most similarities to western cinema due to its actors and structure, it is much easier for passive audiences to follow. Films that require an active audience are generally more complex and artistic meaning they are appreciated more at international film festivals. AUDIENCE CONT.

11. This is in part because most films that focus on domestic issues would be banned in Iran. Domestic audiences could get the film illegally. DESPITE FOCUSING ON DOMESTIC ISSUES FILMS TARGET INTERNATIONAL AUDIENCES