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“If artworks are answers to their own questions, they themselves thereby truly become questions.”1 Are persian films answers to their own questions? The statement of Theodor W. Adorno might be an appropriate introduction for this work about persian Cinema after the Islamic Revolution of 1979.An analysis of the recent development of persian Cinema should primarily mention its origins and history, especially since persian cinema always has been so closely linked to the political circumstances dominating the social reality.
