From the Editor in Chief (Volume 6, Issue 2 – Spring 2025) - 

Roshangar: Roshan Undergraduate Persian Studies Journal

Roshan Institute for Persian Studies, University of Maryland

 

Dear Readers of Roshangar,

 

          This Spring 2025 issue of Roshangar explores the political, aesthetic, and affective dimensions of Iranian cinema. At a time when cultural production in and about Iran continues to confront restrictions, repression, and renewal, the works in this volume reveal how film, art, and historical inquiry sustain the power of critical engagement.

          We open with “The Immersive Camera of Iranian Film: An Analysis of the Cinematographic Methods of Farhadi, Kiarostami, and Panahi” by Nathan Cavalier. This essay examines how camera angle and perspective are used not only to create cinematic realism but also to implicate the viewer in the social worlds and ethical stakes of Iranian life. Cavalier argues that immersive visual techniques are not merely aesthetic choices but part of a broader effort to cultivate personal and political investment in the everyday struggles Iranian films portray.

          The second essay, “From Film-Farsi to Neo-Realism: Revolution and Evolution,” written by another student named Nathan, compares the “tough guy” protagonists of 1970s pre-revolutionary cinema with the stoic child figures of the 1980s. This sharp juxtaposition reflects a deeper transformation in cultural archetypes and ideological values following the 1979 revolution. Through this lens, the essay maps how heroism, masculinity, and social resilience were reimagined in Iranian film across two decades of profound change.

          In “Reading in Between the Lines: The Hidden Depictions of Romance in Iranian Cinema,” Kiara Planta turns our attention to emotional intimacy, censorship, and gender dynamics. In the absence of explicit physical expression, Iranian filmmakers have developed poetic strategies to represent love and longing through gesture, dialogue, and narrative pacing. Planta highlights how romance becomes a site of innovation, subtle, poignant, and politically charged.

          This issue also features student research posters from the Modern Iran (PERS219) course. These projects present a visual journey through Iran’s turbulent path to modernity, touching on Qajar-era courts, the rise of nationalism, revolutions, fashion, festivals, and the politics of change. Taken together, the posters remind us that undergraduate scholarship plays a vital role in tracing the complex intersections of identity, power, and culture.

In a powerful creative contribution, Jenna Merish and A. M. present a visual collage spotlighting global activist movements in Yemen, Palestine, Syria, the Uyghur community, Sudan, and Congo. This work draws connections between these ongoing struggles and Iran’s Women, Life, Freedom movement. The collage underscores a shared spirit of defiance and resistance, especially through art activism that emerges under censorship and state violence. As the artist's note, these struggles are far from over. Their piece urges us to recognize art not only as a mirror to injustice but as a tool for solidarity and transformation.

          As we continue to publish Roshangar, our mission remains anchored in amplifying student voices, engaging with political questions, and showcasing the urgency and imagination of contemporary cultural production. We are grateful to our contributors for their insight, creativity, and commitment.

          Finally, I would like to extend my heartfelt thanks to our Assistant Editors, Yara Ayache and Donya Saghafi, for their dedication and thoughtful collaboration throughout the editorial process. This issue would not have been possible without their tireless work.

          Thank you for reading and for joining us in this ongoing conversation. We hope you read, reflect, and engage.

 

Warm Regards,

 

Marjan Moosavi

Editor-in-Chief
Roshangar: Roshan Undergraduate Persian Studies Journal