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Some Observations on Visual Representations of the 2009 Iranian Presidential Election Crisis

Published online by Cambridge University Press:  01 January 2022

Pedram Khosronejad
Pedram Khosronejad*
Affiliation:
University of St Andrews
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Abstract

Based on visual representations of the Iranian presidential election crisis of 2009, this article explores the idea of a relationship between the production of images related to crisis, trauma and the legitimacy of such online visual materials. While photos and cell phone video recordings taken in urban spaces bear witness to public acts and encounters, this article explores the role that visual images play in shaping political crisis. The article concludes that the production, purchase and also circulation of such visual materials should be at the center of any further research in this domain.

Type
Articles
Information
Iranian Studies , Volume 44 , Issue 3: Beyond the Iranian Frame: From Visual Representation to Socio-Political Drama , May 2011 , pp. 395 - 408
Copyright
Copyright © 2011 The International Society for Iranian Studies

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References

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16 Islamic Republic of Iran Broadcasting (Seda va Sima), is the state monopoly broadcaster (radio and television) directly overseen by the office of the Supreme Leader, Ayatollah Seyed Ali Khameneyi, who appoints the director. IRIB is currently headed by Ezatollah Zarghami, a former Revolutionary Guard officer.

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18 Stealing thunder refers to a dissuasion tactic in which an individual reveals potentially incriminating evidence first, for the purpose of reducing its negative impact on an evaluative audience.

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35 The debate began for the first time with an article by Robert Safarian after the public announcement of this declaration. In his article, Safarian condemned all independent documentary filmmakers who signed this declaration and interrogated them for their sanction of the “Cinema Real” film festival. He also accused them of wanting to exaggerate the simple work of documentary filmmaking and compare it with the heroic act and work of journalists who put their life in danger preparing their reports during such social and political crises. Safarian believes that it is not necessary to rely only on film for recording such moments of crisis. He believes that for such historiography there are many other ways besides documentary films. For more information in this regard, please see:

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37 Many like Reza Deghati, an Iranian photographer based in France, found this situation another good market for themselves and their work. Also, many foreign documentary filmmakers soon after Neda's death tried to cover this hot topic. For example, David Fanning with his film “A Death in Tehran,” and later Anthony Thomas with his film “For Neda.”

38 Term used for the first time by Independent documentary filmmakers during the presidential election crisis.

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