A number of films produced in the early 1970s heralded “the New Iranian Cinema.” The establishment of the Islamic Republic in 1979, and subsequent banishment of many movie actors and directors, convinced many critics that the Iranian cinema would not survive the onslaught of the Islamic fundamentalism.  While many directors did not survive the repression of the mid-1980s, many others persisted and brought into their ranks young talents whose works would soon emerge with much more rigor and international allure. In the 1990s, the New Iranian Cinema gained international popularity in spite of weak reception at home and heavy censorship by the government.  Major characteristics of this cinema include, among others, social criticism, increased use of children and non-professional actors, no explicit or implicit reference to sex, limitations on the depiction of female body, and stronger emphasis on humanistic concerns of folk people. Written mostly by Iranians within and outside Iran, fourteen chapters in this volume discuss various aspects of this cinema.  Though uneven in approach and style, these papers discuss the message and implication of this cinema in terms of major cultural debates within the Iranian intellectual community in the past two decades: form versus content, presentation versus representation, artistic versus commercial, committed versus free art, entertainment versus education, national versus international, popular versus intellectual, religious versus secular, traditional versus modern, and Iranian versus Islamic identity. Tapper’s selection is a sign of his deep appreciation and knowledge of the Iranian cultural issues.   A. Mahdi, Ohio Wesleyan University