Dedicated to Iranian cinema, this article tries to embrace a wide range of artistic endeavors in Iranian cinema covering from per-revolutionary to diaspora creation by focusing on Amir Naderis Tangsir (1963), his New York Trilogy (1993-2002) and Davood Esmaili,s Nip in the Bud (1969) in the special issue of Persian Studies Literary. After a survey of adaptation in Iranian cinema, by drawing on Gerard Genette’s theories of Narratology, especially his notions of hypotextuality, hypertextuality, transpragmatization and transdiegetization, Naderi’s Tangsir, the adaption of Sadeq Chubak’s novel (1963), is scrutinized from intertextual perspective. Movie-shots are provided for the sake of clarification to prove how pragmatic transpositions reveal Naderi’s sympathy with the social unrest and possibly predicting the upcoming Revolution in 1979. Naderi’s New York Trilogy, abound with heteroglossia, suggests the insufficiency of a single linguistic system for the articulation of modern urban existence. Drawing on Roland Barthes’ semiotics and Mikhail Bakhtin’s dialogism, it echoes the failure of traditional language to encompass the discursive nature of the city. Thus, city is introduced as a “discourse”. By the depiction of absence, the fragmentation of familial, and the extension of social relations, city is depicted as a “lived space”. Davood Esmaili,s Nip in the Bud (1969), the adaptation of William Shakespeare’s The Taming of the Shrew keeps the comic aspects as well as indigenizing the play. Nip in the Bud falls within the remit of filmfarsi—the mainstream cinema popular between 1940s and 1970s in Iran. Despite the film seems like a faithful adaptation because it follows the basic plot in details and appropriates more or less the same characters and key incidents albeit with changes in the names, it offers a radically different interpretation of the misogynistic themes of the work due to the limitations and inherited themes of filmfarsi.

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