Iranian cinema is the clearest case in this catalog of restriction producing a style. A new wave began in 1969, was interrupted by a revolution that closed and in several cases burned the cinemas, and then came back through a state institute set up to make films for children — which is why so many great Iranian films are about a child carrying out an errand. What the censor forbade was replaced with real locations, non-actors, long conversations in cars, and the working assumption that a camera pointed at an ordinary street is already an argument.