Simonis, Annettevon Hagen, KirstenAlinezhadi, EhsanEhsanAlinezhadi2025-09-092025-09-092025https://jlupub.ub.uni-giessen.de/handle/jlupub/20813https://doi.org/10.22029/jlupub-20164This dissertation examines intermedial and transmedial storytelling in Iranian New Wave cinema, focusing on how selected films, both adapted and non adapted, mediate cultural narratives through medium-specific aesthetics to construct hybrid cultural identities and narrative worlds. Case studies include but not limited to the film adaptations, like Dariush Mehrjui’s <i>The Postman</i> 1972, based on Büchner’s <i>Woyzeck</i>, alongside original films such as Bahram Beyzaie’s <i>The Crow</i> 1977. Situating Iranian New Wave cinema within a a broader cultural framework while reading it through intermedial and transmedial concepts and configurations, drawing on Mieke Bal’s “travelling concepts,” Homi Bhabha’s notion of “Third Space”, and Werner Wolf’s inter/transmedial theory, this study analyzes film’s mise-en-scène, editing, and cinematography to trace how narrative elements and cultural signifiers circulate and transform across cultural and inter/transmedial dynamics. For example, <i>The Postman </i> explicitly critiques Iran’s rapid top-down modernization and its inevitable consequences, particularly the conflict between emerging modern structures and traditional life-worlds. In <i>The Crow</i>, Beyzaie portrays a modernizing Tehran through the story of a female protagonist who struggles to assert her rejected individuality. By revealing how 1960s–70s Iranian New Wave cinema both reflects and shapes a culturally hybrid society, this dissertation contributes to the discussions around film studies, cultural studies, narratology, and adaptation theory by offering an interdisciplinary model linking narrative form, media, and socio-cultural context.enIn CopyrightIntermedialityHybrid Cultural IdentityTransmedialityFilm StudiesIntersemiotic AdaptationIranian New Wave CinemaCultural NarratologyNarrative Aestheticsddc:791ddc:800