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AbstractHistoryArchive Description
Marzieh is a young female actress living in Tehran. The authorities ban her theatre work and, like all young people in Iran, she is forced to lead a secret life in order to express herself artistically.
At an underground rave, she meets Iranian born Saman, now an Australian citizen, who offers her a way out of her country and the possibility of living without fear.
Shot entirely on location in Tehran, My Tehran for Sale tells the story of modern day Iranian youth struggling for cultural freedom. It brings to the screen never before seen images of modern urban Iran, and reveals how young Iranian people live behind closed doors.
At an underground rave, she meets Iranian born Saman, now an Australian citizen, who offers her a way out of her country and the possibility of living without fear.
Shot entirely on location in Tehran, My Tehran for Sale tells the story of modern day Iranian youth struggling for cultural freedom. It brings to the screen never before seen images of modern urban Iran, and reveals how young Iranian people live behind closed doors.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Between Nostalgia and Activism : Iranian Australian Poetry and Cinema
2012
single work
criticism
— Appears in: JASAL , vol. 12 no. 2 2012; This article examines the work of Iranian Australian writers Granaz Moussavi and Roshanak Amrein. Moussavi is best known among English-speakers for her film My Tehran For Sale (2009), an Iranian-Australian co-production, and among Persian-speakers for her poetry. Amrein is known for her poetic representations of the experiences of Baha'i refugees in and from Iran, especially her translated volume One Million Flights (2010). In this article I focus on the different transnational and formal contexts in which Moussavi and Amrein write, as well as the different ways their texts represent notions of Iran and Australia. I argue that My Tehran For Sale and One Million Flights, especially when read in juxtaposition, serve to reposition 'Australia', 'Iran' and related narratives around 'freedom' and 'fairness'. [Author's abstract] -
‘Perverted’ Sharia Slaps Artistic Freedom
2011
single work
criticism
— Appears in: Eureka Street , 21 October vol. 21 no. 20 2011; (p. 26-27) -
Actress to be Lashed over Australian Film
2011
single work
column
— Appears in: The Sydney Morning Herald , 11 October 2011; (p. 2) The Canberra Times , 11 October 2011; (p. 9)
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Actress to be Lashed over Australian Film
2011
single work
column
— Appears in: The Sydney Morning Herald , 11 October 2011; (p. 2) The Canberra Times , 11 October 2011; (p. 9) -
‘Perverted’ Sharia Slaps Artistic Freedom
2011
single work
criticism
— Appears in: Eureka Street , 21 October vol. 21 no. 20 2011; (p. 26-27) -
Between Nostalgia and Activism : Iranian Australian Poetry and Cinema
2012
single work
criticism
— Appears in: JASAL , vol. 12 no. 2 2012; This article examines the work of Iranian Australian writers Granaz Moussavi and Roshanak Amrein. Moussavi is best known among English-speakers for her film My Tehran For Sale (2009), an Iranian-Australian co-production, and among Persian-speakers for her poetry. Amrein is known for her poetic representations of the experiences of Baha'i refugees in and from Iran, especially her translated volume One Million Flights (2010). In this article I focus on the different transnational and formal contexts in which Moussavi and Amrein write, as well as the different ways their texts represent notions of Iran and Australia. I argue that My Tehran For Sale and One Million Flights, especially when read in juxtaposition, serve to reposition 'Australia', 'Iran' and related narratives around 'freedom' and 'fairness'. [Author's abstract]
Last amended 11 Oct 2011 08:53:31
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Tehran,
cIran,cMiddle East, Asia,
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