Abstract

During the last two decades, many thinkers on Iranian cinema have had many things to say about censorship, especially the issue of the veil imposed on women’s gender by the authorities in Iran. In this paper, I will describe Hamid Dabashi’s narrative as related to the concept of “truth” to show further that the veil issue has reached a new phase in Iran. Although much of what Dabashi defines as the absented body of women in his article “Body less faces: Mutilating modernity and abstracting women in an ‘Islamic cinema’” may still hold, I believe his over-arching narrative doesn’t contribute enough to our understanding of the new relations among the authorities and actresses’ Fashion styles on red carpets. This paper’s method is connected with cultural and visual studies through Roland Barthes’ semiotics. I first focus on Hamid Dabashi’s conception of “truth” and how he believes “truth” is related to Islamic ideology and embodied in Iranian post-revolutionary cinema to further (through analysing photos of Iranian actresses’ clothing who attend festivals) conclude that Iranian women try to adopt new resistances in choosing their costumes compared to the early two decades of post-revolutionary Iran. The presence of Iranian women in festivals especially regarding what they wear has established a new interwoven relationship with authorities which has somewhat not been surveyed properly. By surveying the photos of their fashion and style I conclude that they are in constant negotiation with authorities through what they rebelliously wear.