THE POLITENESS OF LOVE EXPRESSION IN IRANIAN CINEMA

Abstract

This study explores the aesthetics of the representation of love in Iranian cinema through a qualitative approach with a hermeneutic phenomenological design. This approach is used to understand the essence of the characters' lived experiences related to love, devotion, and domestic resilience as reconstructed visually and narratively on screen. The research subjects were determined incidentally on the basis of thematic relevance to the representation of Eastern humanism, comprising five Iranian films and television series: Baran (2001), The Story of the Prophet Joseph, Mukhtar Tsaqafi (Mokhtarnameh), Pedar (1996), and The Song of Sparrows (2008). The diversity of genres—from social realism to historical-religious epic— enabled a cross-genre analysis to demonstrate the consistency of the aesthetics of silent love in Iranian cinema. Data were collected through repeated and immersive audiovisual viewing, the recording of key scenes, and thematic categorisation. Data trustworthiness was ensured through investigator triangulation. The findings reveal that love in Iranian cinema is expressed through minimalist gestures, subtle subtext, silence, and concrete action—rather than explicit physical contact or dramatic verbal declaration. The strength of the love narrative lies precisely in what is left unsaid: empty space, silence, and ethical decorum that paradoxically convey a moral message and emotional resonance more profound than vulgar depiction.