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Tehran - Coggle Diagram
Tehran
Shira, the Israeli student, is given a headscarf to wear during her interrogation by one of the Iranian agents, connoting the cultural values held in Iran.
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The hijab is seen as a symbol of oppression by some. This scene could be shaped by the recent ‘Woman, Life, Freedom’ protests after the death of Mahsa Amini which saw some women choosing to burn their hijabs as a symbol of rebellion.
The loose framing of the shot connotes the characters isolation, establishing a binary opposition between Iran’s more oppressive regime vs. the individual freedoms provided in Israel.
A low angle shots is used to frame Faraz (Shaun Toub) towering over Shira and connote his power and authority over her.
The target audience for Tehran is broad; the spy thriller genre has a long history of being popular with audiences, and it has global appeal due to its repetition of familiar conventions (Steve Neale- genre theory)
Using a female protagonist widens the audience as it is offers a more diverse representation and the opportunity to reflect the dynamic, evolving nature of the genre. It offers a form of personal identity for some audiences.
The distribution through Apple TV+ has made the show accessible for global audiences. The themes within Tehran also appeal to a global audience.
The show offers an informative and educational insight of Iran and Israel, which may appeal to some audiences
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Tehran does not follow Todorov's equilibrium theory that all narratives share a basic structure involving a movement from one state of equilibrium to another.
There is no build up or equilibrium created as the audience are instantly introduced to the mission of the protagonist (Tamar) disguised as an Iranian woman when she is actually Israeli in order to take down the Iranian air defences
The visual codes of Tamar fidgeting with her hands, connotes fear and worry regarding the mission.
Tehran’s narrative is heavily political, with the ideological beliefs and political stance of the audience impacting how they respond to the series.
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Van Zoonen's theory argues that the media portray stereotypical images of women to reflect and reinforce dominant ideological views.
Through the main character of Tamar, an alternative representation of a woman is portrayed, although she sometimes falls into ‘role’, portraying more stereotypically feminine characteristics to disguise her true identity.
For example, she uses a bandage from a pretend rhinoplasty operation (a common procedure in Iran) to help maintain her cover. She often uses societal expectations of what a woman should do as her disguise to aid her completion of the mission.
Tehran was written by Moshe Zonder and was initially created for the public Israeli channel, Kan 11
Other companies were involved with the production of the series including Cineflix Media which funded 50% of production costs. They also distributed Tehran and made a deal with Apple TV+
Tehran was the first non-English speaking series to be released on the platform (the majority of the dialogue is in Hebrew and Persian)
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Apple, the largest technology company in the world, have grown their business model to meet the growing demand for online streaming and to match competition from other subscription services such as Netflix and Amazon Prime. (Hesmondhalgh)
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The two Israeli's on board are dressed in casual clothing like Shira's shirt saying 'awesome' creates a binary opposition (Levi-Strauss) compared to Tamar's traditional Israeli clothing, including the headscarf.
In the taxi scene, Tamar looks out the window to see an Iranian getting hanged for a financial crime and her worried expression signifies her fear further.
Tehran focuses on the factual political conflict between Iran and Israel with the binary opposition of the two; Iran being seen as a violent country while Israelis are presented as victims linking to Levi Strauss' idea that meaning is dependent upon oppositions.