Representation of women with disability in Iranian movie posters

This study examines the representation of women with disabilities (WWDs) in Iranian cinema posters from 1979 to 2013, analyzing how disability and gender identities have been visually constructed within the cultural and ideological context of post-revolutionary Iran. Drawing on Lotman�s theory of the semiosphere and Feminist Disability Studies, the research traces a gradual shift from symbolic, concealed portrayals toward more explicit and emotionally nuanced depictions of disabled women. While earlier posters emphasized abstraction, dependence, or saintly patience, later works such as The Painting Pool and Here Without Me foreground disabled women as central characters with agency and emotional depth. These transformations reflect not only evolving artistic practices but also complex negotiations among filmmakers, poster designers, state censorship bodies, and audiences. The findings reveal that visibility is not a neutral or linear outcome, but rather a contested process shaped by cultural norms, Islamic values, and patriarchal structures. Although recent posters signal a departure from pity-based portrayals, they often assimilate disability into traditional family-centered ideals of care, modesty, and sacrifice. The study argues that Iranian visual culture demonstrates both resilience and flexibility, reinterpreting disability through Islamic virtues while simultaneously negotiating the boundaries of representation, inclusion, and cultural change.