摘要

在国际新闻与公共传播中，伊朗长期被置于核问题、制裁、宗教政治与中东安全等宏观叙事之中。2026年地区军事冲突进一步强化了这种以国家、安全和地缘政治为中心的认知框架。然而，2024年以来一批伊朗电影持续将镜头转向身体、家庭、私人空间、情感关系与普通人的伦理处境，使伊朗社会以日常生活而非单一政治符号进入跨文化观看。本文以接受美学和斯图亚特·霍尔的表征、编码/解码理论为主要理论资源，以《我最喜欢的蛋糕》（2024）、《神圣无花果之种》（2024）和《普通事故》（2025）为核心文本，并以《我被偷走的星球》（2024）作为补充案例，考察当代伊朗电影如何将宏观层面的“伊朗问题”转译为具有身体感、情感性和生活质感的社会经验。进一步选取豆瓣等中文网络空间公开可检索的影评与短评作为观察性材料，通过目的性取样和主题编码，分析中国网络影迷如何在既有伊朗想象与电影提供的日常经验之间进行认同、协商与抵抗。研究认为，当代伊朗电影并非以一种“真实伊朗”取代另一种伊朗想象，而是通过日常表征形成再语境化效应：抽象的国家对象被重新落实为具体人物、社会关系与生活经验，中国观众原有的政治前理解由此被保留、修正或重新排列。电影作为文明互鉴媒介的价值，正在于使文化差异不再只是制度与符号的距离，而能够转化为围绕衰老、亲密、家庭、恐惧、创伤和道德选择展开的经验邻近。

Abstract

In international news and public discourse, Iran has long been framed through nuclear disputes, sanctions, religious politics, and Middle Eastern security. The regional military escalation of 2026 further intensified this state- and security-centered horizon of understanding. Yet since 2024, a group of Iranian films has redirected attention toward bodies, families, private spaces, intimate relationships, and ordinary ethical dilemmas, allowing Iranian society to enter cross-cultural viewing through everyday life rather than a single geopolitical image. Drawing primarily on reception aesthetics and Stuart Hall's theories of representation and encoding/decoding, this article analyzes My Favourite Cake (2024), The Seed of the Sacred Fig (2024), and It Was Just an Accident (2025), with My Stolen Planet (2024) as a supplementary case. It examines how contemporary Iranian cinema translates the macro-level “Iran question” into embodied, affective, and quotidian social experience. The article further uses publicly accessible Chinese-language reviews and short comments, mainly from Douban, as observational materials and applies purposive sampling and thematic coding to explore how Chinese online cinephiles negotiate between pre-existing images of Iran and the everyday experiences offered by film. The article argues that these films do not replace one image of Iran with a supposedly more “authentic” one. Rather, everyday representation produces a recontextualizing effect in which an abstract geopolitical object becomes a field of concrete persons, social relations, and lived experiences. Existing political pre-understandings are therefore retained, revised, or rearranged in reception. The intercultural value of cinema lies in turning cultural distance from a gap of institutions and symbols into experiential proximity organized around ageing, intimacy, family, fear, trauma, and moral choice.

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