Dr Dolan’s book details the intimate lives of four Iranian women, their struggle with drugs and the daily grind they faced in their personal lives. Surprisingly, Iran responded well to its AIDS crisis but forgot to include female drug users. While Dr Dolan delivered training to Iranian prison doctors, she met women who were addicted to drugs and were desperately in need of treatment. With her health professional colleagues in Iran, she set out to establish the first drug treatment clinic for women. She was granted access to areas and people not normally afforded to outsiders. One of the most interesting aspect of the clinic was the safe room that allowed women to remove their hejabs, smoke cigarettes and reveal their life stories. Working at the clinic challenged assumptions Dr Dolan had of Iran and its people. She came away with insights that are rare even in the world of international development.

Dr Dolan's book details the intimate lives of four Iranian women, their struggle with drugs and the daily grind they faced in their personal lives.

Dr Dolan's book details the intimate lives of four Iranian women, their struggle with drugs and the daily grind they faced in their personal lives.

In the aftermath of the Iranian Revolution, the government of the Islamic Republic initiated a stringent anti-drug campaign that included fining addicts, imprisonment, physical punishment and even the death penalty. Despite these measures, drug use was, and is still, commonplace. Based on her most recent fieldwork, Janne Bjerre Christensen explores the mounting problems of drug use in Iran, how treatment became legalized in 1998, how local NGOs offer methadone treatment in Tehran and face continuous political challenges in doing so, and how drug use is critically discussed in Iranian media and cinema. Drugs, Deviancy and Democracy in Iran is thus a unique account of Iran's recent social and political history, drawing important conclusions about the complexity of state power, and the growing impact of civil society, vital for all those interested in Iran's history, politics and society.

This book offers a unique look into prisons in Iran and the lives of the prisoners and their families. It provides an overview of the history of Iranian prisons, depicts the sub-culture in contemporary Iranian prisons, and highlights the forms that gender discrimination takes behind the prison walls. The book draws on the voices of 90 men and women who have been imprisoned in Iran, interviewed in 2012 and 2017 across various parts of the Islamic Republic of Iran. It presents a different approach to the one proposed by Michel Foucault in Discipline and Punish because the author argues that Iran never experienced “the age of sobriety in punishment” and “a slackening of the hold on the body”. Whilst penal severity in Iran has reduced, its scope has now extended beyond prisoners to their families, regardless of their age and gender. In Iran, penalties still target the body but now also affect the bodies of the entire prisoner’s family. It is not just prisoners who suffer from the lack of food, clothes, spaces for sleeping, health services, legal services, safety, and threats of physical violence and abuse but also their families. The book highlights the costs of mothers’ incarceration for their children. It argues that as long as punishment remains the dominant discourse of the penal system, the minds and bodies of anyone related to incarcerated offenders will remain under tremendous strain. This unique book explores the nature of these systems in a deeply under-covered nation to expand understandings of prisons in the non-Western world.

Working at the intersection of religion and ever-shifting political, economic and social environments, Iranian cinema has produced some of the most critically lauded films in the world today. The first volume in the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, New Wave, war film, art house film and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema and fans and aficionados of Iranian film. Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.