Professor of Literature
I am a cultural critic and theorist specializing in interdisciplinary and feminist contributions to the fields of Middle Eastern Studies and Film and Media Studies. I have published five books on Iranian Cinema, the history of reform, revolution and the uses of various media in protest. My book "#iranelection: Hashtag Solidarity and the Transformation of Online Life" (Stanford University Press, 2015) is about one such social media mobilization. "#iranelection" follows the protest movement around Iran's fraudulent presidential election in 2009 to investigate how emerging social media platforms developed as a result of the international solidarity around the hashtag. Just as the world turned to social media platforms to understand the events on the ground, social media platforms adapted and developed to accommodate global activism. "#iranelection" reveals the new online ecology of social protest and offers a prehistory, of sorts, to the uses of hashtags and trending topics, of selfies and avatar activism, citizen journalism and YouTube mashups.
Anticipating the 40th anniversary of the Iranian Revolution of 1979, my most recent book Whisper Tapes: Kate Millett in Iran (Stanford UP,2019) draws on The Kate Millett papers in the Sallie Bingham Center for Women’s History & Culture in the Duke archives to recover the lost history of the women’s protests that followed quickly on the heels of Ayatollah Khomeini’s ascent to power as the leader of the Iranian Revolution. Less than a month after the Iranian Revolution of 1979, the American feminist Kate Millett traveled to Tehran to join Iranian women in a celebration of International Women’s Day. As the celebration turned into six days of demonstrations, Millett’s picture appeared in major International newspapers as a participant. She was pictured holding a small tape recorder. These tapes, Millett’s “whisper tapes,” captured the soundscape of a flickering (and unfettered) moment of revolutionary vitality that spawned imaginative narratives and theories among feminists around the world. As I listened to Millett's audio tapes and in between the often contradictory layering of voices and sounds captured on them, I began writing the Whisper Tapes as a playful interpretive guide for Millett in retrospect – a guide to the demands of postrevolutionary Iran in 32 entries following the 32 letters of the Persian alphabet, introducing the reader to the Revolution’s slogans, its habits, its instincts, its foods, its monuments, its collectivism, its cast of characters and importantly to the Iranian women’s movement—a movement some have claimed Millett herself never came to understand. Whisper Tapes serves in this way as an agnotology, a study of the culturally induced ignorance of Iran, in the face its obvious, assertive, and eloquent presence.
The critical readings of unknowing and the unconscious that run through Whisper Tapes bring Freudian psychoanalysis to bear on feminism in ways that make feminism a psychoanalytic subject with its own unconscious. Attending to the space between Millett's own commentary and the voices and sounds of the Iranian women and men around her, I analyze the ways in which a socially constructed lack of knowledge (be it political, religious, or technological) situates our recognition of the things that are right in front of us. The cries of freedom that I hear on the tapes and that attracted a world of women to the Iranian women's movement, spoke of a collective quality of freedom that struck a cord, but that simultaneously spoke of ideas beyond the more familiar and intuitive notions of liberation and individualism current amongst feminists in the late 1970s. Unconscious, these ideas were left unrecognized. And to me, this is crucial. At heart of the women's collective demand was the desire for a planetary transformation and a willingness to cross into a self none of them could have ever imagined becoming and to do so on behalf of an as-to-yet-unseen and unpresent future for all: Azadi na sharghist, na gharbist, jahanist! The women's chant: "Freedom is neither Eastern, nor Western. It is planetary!" speaks to this, precisely. While, as Chandra Talpade Mohanty has argued, the logic of neoliberalism in feminism today has collapsed "notions of collectivity into the personal," eroding both power and political agency into acts of consumption, it is this collective leap towards a planetary freedom that has the capacity of reaching --beyond the politicization of the personal --towards a quality of human solidarity around social justice that cannot be satiated by the selective logics of consumption. In attending to the unconscious and to the cultural work of an agnotology that situates Millett's global feminism, Whisper Tapes returns to the 1970s to speak to a tenuous and yet fragile possibility of feminist solidarity across difference on a global scale.
Fluent: English, Farsi (Modern Persian), Norwegian Bokmål and Nynorsk
Proficient: French, German, Arabic (Classical and Modern), Spanish
- Ph.D., University of Minnesota, Twin Cities 1998
- M.A., University of Minnesota, Twin Cities 1994
- B.A., Mount Holyoke College 1990
Abdu'l Baha in America or How did a Middle Eastern 19th Century Reformer Impact American Cultural Life and Politics? awarded by Josiah Charles Trent Memorial Foundation (Principal Investigator). 2010 to 2011
A Research Project to Highlight the History, the Production, as Well as the Aesthetic and Stylist Traditions of Six Worl awarded by Josiah Charles Trent Memorial Foundation (Principal Investigator). 2003 to 2004
Mottahedeh, N., et al. After oil 2015. Petrocultures Research Group (in partnership with press), 2016.
Mottahedeh, N. #iranelection: Hashtag Solidarity and the Transformation of Online Life. Stanford University Press, 2015.
Mottahedeh, N. 'Abdu'l-Bahá's journey West: The course of human solidarity. 2013, pp. 1–196. Scopus, doi:10.1057/9781137032010. Full Text
Mottahedeh, N. Displaced Allegories: Post-Revolutionary Iranian Cinema. Duke University Press, 2008.
Mottahedeh, N. Representing the Unpresentable: Images of Reform from the Qajars to the Islamic Republic of Iran. Syracuse University Press, 2008.
Mottahedeh, N. “Review of Pedram Khosronejad's 'Iranian Sacred Defence Cinema: Religion, Martyrdom, and National Identity'.” Anthropology of the Contemporary Middle East and Central Eurasia, edited by P. Khosronejad, vol. 1, no. 2, 2013, pp. 178–80.
Mottahedeh, N. “Review of Nacim Pak-Shiraz's 'Islam in Iranian Cinema: Religion and Spirituality in Film'.” Contemporary Islam, Aug. 2012, pp. 79–80.
Mottahedeh, N. “Review of Mehrnaz Saeed-Vafa and Jonathan Rosenbaum's 'Abbas Kiarostami'.” Historical Journal of Film, Radio and Television, vol. 29, no. 3, Aug. 2009, pp. 409–11. Manual, doi:10.1080/01439680903115911. Full Text
Mottahedeh, N. “Review of Hamid Dabashi's 'The Making of a Rebel Filmmaker: Makhmalbaf at Large'.” Cinema Journal, vol. 49, 2009, pp. 167–69.
Mottahedeh N, N. “Review of Richard Tapper's 'The New Iranian Cinema: Politics, Representation, and Identity'.” Iranian Studies, edited by R. Tapper, vol. 38, no. 2, June 2005, pp. 341–44.
Mottahedeh, N. “Review of Hamid Naficy's 'An Accented Cinema: Exilic and Diasporic Filmmaking'.” Iranian Studies, vol. 36, no. 3, 2003, pp. 398–400.
Mottahedeh, N. “Review of Nasrin Rahimieh's 'Missing Persians: Discovering Voices in Iranian Cultural History'.” Iranian Studies, vol. 36, no. 1, 2003, pp. 141–45.
Mottahedeh N, N. “Review of Kamran Talattof and Jerome W. Clinton's 'The Poetry of Nizami Ganjavi: Knowledge, Love, and Rhetoric'.” Journal for Iranian Research and Analysis, 2001, pp. 113–14.
Mottahedeh, N. “Review of Nader Ahmadi and Fereshteh Ahmadi's 'Iranian Islam: The Concept of the Individual'.” Iranian Studies, vol. 33, no. 1–2, 2000, pp. 200–01.
Mottahedeh, N. “Abdu’l Bahá and the Baha’i Message of Human Solidarity.” The First Universal Races Congress of 1911: Empires, Civilizations, Encounters, edited by M. Bonakdarian et al., 2016.
Mottahedeh, N. “One Light : Cinema and Islamic Spirituality.” Whiley-Blackwell Companion to Islamic Spirituality, edited by B. Lawrence and V. Cornell, 2016.
Mottahedeh, N. “Crude Extractions: the Voice in Iranian Cinema.” Locating the Voice in Film, edited by T. Whittaker and S. Wright, 2016.
Mottahedeh, N. “Tehran in Cinema.” Tehran in the Iranian Cultural Imaginary, edited by N. Rahimieh and D. Parviz Brookshaw, 2016.
Mottahedeh, N. the people [pee-puh l] verb, noun : networked contagion. related forms: #selfie. 2016.
Mottahedeh, N. “Karbala Drag Kings and Queens.” Eternal Performance: Ta’ziyeh and Other Shiite Rituals, edited by P. J. Chelkowski, Seagull Books, 2010, pp. 149–69.
Mottahedeh, N. “Woman is Color: on Mohsen Makhmalbaf’s Gabbeh.” Cines Del Sul (International Film Festival Book), 2008.
Mottahedeh, N. “Memory and Gender in Iranian History.” Encyclopedia of Women and Islamic Cultures, edited by S. Joseph, vol. 2, Brill, 2006.
Mottahedeh, N. “The New Iranian Cinema.” Traditions in World Cinema, edited by L. Badley et al., Edinburgh University Press, 2006, pp. 176–89.
Mottahedeh, Negar. “Nahid Siamdoust, Soundtrack of the Revolution: The Politics of Music in Iran, Stanford Studies in Middle Eastern and Islamic Societies and Cultures (Stanford, Calif.: Stanford University Press, 2017). Pp. 368. $29.95 paper. ISBN: 9781503600324.” International Journal of Middle East Studies, vol. 50, no. 2, Cambridge University Press (CUP), May 2018, pp. 348–49. Crossref, doi:10.1017/s002074381800034x. Full Text
Mottahedeh, N. Le Vent Nous Portera: of lovers possessed, times entangled, and bodies carried away. Asian Cinema, 2016.
Mottahedeh, N. Crude Extraction in Iran: Territorial Expansion and Benthic depths in sponsored oil films. Cultural Studies, 2016.
Mottahedeh, N. Unruly voices and Narratives. Amodern, 2016.
Mottahedeh, N. “'Hashtag solidarity and the radical kinship of Twitter’s #iraneletion' Medium https://medium.com/@negaratduke June 12 2015.” Medium, Medium, June 2015.
Mottahedeh, N. “Hashtag solidarity in Iran: How the Green Movement mobilized social media in the interest of social change.” Stanford University Press Blog, June 2015.
Mottahedeh, N. “Anatomy of a Tweet.” The Immanent Frame: A Journal for the Ssrc, Feb. 2015.
Mottahedeh, N. “How #Iranelection Transformed the Public Sphere.” Islamicommentary: Forum for Public Scholarship, June 2014.
Mottahedeh, N., and S. Saljoughi. “Rethinking gender in contemporary iranian art and cinema.” Iranian Studies, vol. 45, no. 4, July 2012, pp. 499–502. Scopus, doi:10.1080/00210862.2012.673828. Full Text
Mottahedeh, N. “Green is the New Green: Social Media and the Post Election Crisis in Iran 2009.” New Politics, vol. 8, no. 1, July 2010.
Mottahedeh, N., et al. Political Consciousness of a Selfie. Stanford University Press Blog, July 2015.
Mottahedeh, N. Hashtag solidarity in Iran: How the Green Movement mobilized social media in the interest of social change. Stanford University Press Blog, 12 June 2015.
Mottahedeh, N. “A Revolutionary Meme.” Cinema Journal: In Media Res, Aug. 2015.
Mottahedeh, N. “#iranelection.” The Page 99 Test, July 2015.
Mottahedeh, N. “A Revolution of Flesh and Data.” Duke Magazine, July 2015.
Mottahedeh, N. “Hashtag solidarity and the radical kinship of Twitter’s #iraneletion.” Medium, June 2015.
Mottahedeh, N. “How #Iranelection transformed the Public Sphere.” Islamicommentary: Forum for Public Scholarship, 16 June 2014.
Mottahedeh, N. ‘Abdu’l-Bahá’s Journey West: The Course of Human Solidarity (Palgrave, April 2013). Apr. 2013.
Mottahedeh, N. “Allah-o-Akhbar.” Arteeast Quarterly C+: The Iran Issue., Apr. 2012.
Mottahedeh, N. “Brainquake Not Boobquake.” Religion Dispatches, May 2010.
Mottahedeh, N. “Green is the New Green: Social Media and the Post Election Crisis in Iran 2009.” New Politics, vol. 8, no. 1, 2010.
Mottahedeh, N. “Picturing Ourselves: 1953, 1979 and 2009.” Frontline: Tehran Bureau, July 2009.