1. M. Sprio, “Filmic Performance, Authenticity and The Apple,” Widescreen 1:1 (2009), pp. 1–9.
2. I would wish to link it more to the Italian movement in terms of its politics rather than French New Wave as discussed elsewhere, for example in Christopher Gow, From Iran to Hollywood and Some Places in-Between, Reframing Post Revolutionary Iranian Cinema (London, I. B. Tauris, 2011).
3. Laura Mulvey, “Afterword,” in The New Iranian Cinema—Politics, Representation and Identity edited by Richard Tapper (London: I. B. Tauris, 2002), p. 261. This is an extended essay originally given as concluding remarks at a conference held at UCLA in 1999.
4. See, for example, Roland Barthes, Camera Lucida, translated by Richard Howard (New York: Hill & Wang, 1980)
5. and Annette Kuhn, Family Secrets: Acts of Memory and Imagination (London: Verso Books, 1982).