How Orphans Believe

Abstract

In the Introduction, I explicitly emphasized that I do not intend to provide a single comprehensive philosophy of Iranian cinema. Such a reductive attempt would fail to do justice to the range of philosophy of film and to the complexities of Iranian cinema. At the same time, I also stated that contemporary Iranian cinema’s novelty and philosophical reflections are tied to the traumatic experience of the 1979 Revolution. Before any other philosophical analysis, national cinema itself deserves attention; it is a philosophically contested category.