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THE EFFLORESCENCE OF CARICATURE, 1759–1838

that there many aspects of this history which remain insufficiently researched. Digesting all four volumes of Naficy’s ‘magnum opus’ will prove a daunting task for many, but on the strength of these first two instalments those who do so will be rewarded with one of the most comprehensive and insightful studies of Iranian cinema to date. They stand as a fitting testament to Naficy’s career, during which he has produced a body of work that all subsequent scholars of Iranian cinema will struggle to match in terms of its breadth and quality.