References

• 2007Rethinking Global Sisterhood97 cited
• 1995Iranian Cinema under the Islamic Republic51 cited
• 1979Iranian feature film: A brief critical history38 cited
• 2017A New Form for a New People: Forugh Farrokhzad's The House Is Black31 cited
• 2007Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The Day I Became a Woman28 cited
• 2007Negotiating the Forbidden: On Women and Sexual Love in Iranian Cinema23 cited
• 2005Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema17 cited
• 2017Iranian Cinema’s ‘Quiet Revolution,’ 1960–197817 cited
• 2008Cross-Dressing and Gender (Tres)Passing: The Transgender Move as a Site of Agential Potential in the New Iranian Cinema16 cited
• 2008Martyrdom and the “Good Life” In the Iranian Cinema of Sacred Defense15 cited
• 2016Socially peripheral, symbolically central: Sima in Behrouz Afkhami’s Shokaran15 cited
• 2009Iranian Cinema in the Twentieth Century: A Sensory History7 cited
• 2011Iranian War Cinema: Between Reality and Fiction7 cited
• 1998Body‐less faces: Mutilating modernity and abstracting women in an “Islamic cinema”6 cited
• 2012Seeing, Iranian Style: Women and Collective Vision in Abbas Kiarostami's Shirin