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Journals Camera Obscura Volume 22 Issue 1 64

The Day I Became a Woman (dir. Marziyeh Meshkini, Iran, 2000) Michelle Langford Why should I stop, why? The birds have gone off to find water ways the horizon is vertical and moving is rocketing. Shining planets spin at the edge of sight why should I stop, why? — Forugh Farrokhzad, Imam Biavarim be Aghaz-e Fasl-e Sard (Let Us Believe in the Dawning of a Cold Season) A wide-angle traveling shot of a vast landscape opens the second episode of Marziyeh Meshkini’s tripartite film The Day I Became a Woman (Roozi Ke Zan Shodam, Iran, 2000).1 The camera glides along at an exhilarating pace as it tracks a male horse rider from a number of different angles. He appears to be looking for something. “Ahoo,” he calls, his voice scattering a small herd of gazelle. He searches yet further, calling again and again, his voice Camera Obscura 64, Volume 22, Number 1 doi 10.1215/02705346-2006-019 © 2007 by Camera Obscura Published by Duke University Press Camera Obscura echoing through the landscape: “Ahoo,” “Ahoo!” Eventually, on the horizon, we begin to discern a number of tiny black figures toward which we accompany the rider. Gradually it is revealed that these

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Allegory and the Aesthetics of Becoming-Woman in Marziyeh Meshkini's The Day I Became a Woman

Langford, Michelle
Camera Obscura , Volume 22 (1 64)
Duke University Press – Jan 1, 2007

More Info
  • Publisher Duke Univ Press
  • Copyright © 2007 by Duke University Press
  • ISSN 0270-5346
  • eISSN 0270-5346
  • D.O.I. 10.1215/02705346-2006-019
  • Publisher site Get PDF  

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