سینمای ایران، برداشت ناتمام
Author: غلام حیدری
Summary:
این کتاب گزیده ای است از مقاله های منتشر شده از نویسنده در فاصله سال های ۱۳۶۴ تا ۱۳۶۹ در مطبوعات سینمایی و غیرسینمایی؛ و نیز مجموعه ای ازموارد دیگر از جمله برخی اسناد و عکس های انتشار یافته برای بار نخست.
Publisher: چکامه
Language: Persian
نقد سینمای ایران-۲: طعم گیلاس
Author: سعید عقیقی
Summary:
“طعم گیلاس” نوشته‌ی سعید عقیقی، تک‌نگاری‌ست که به بررسی یکی از مهم‌ترین فیلم‌های کارگردان بزرگ ایرانی، عباس کیارستمی، می‌پردازد. عقیقی یکی از برجسته‌ترین و بی‌تعارف‌ترین منتقدان سینمایی روزگار ماست و در این تک‌نگاری به بررسی فیلم موردنظر، همچنین به نگاهی به دیگر فیلم‌های کیارستمی می‌پردازد. او بر ضرورت نیاز به نقد و تحلیل دقیق فیلم‌ها تاکید دارد و نقد فیلم در نشریه‌های سینمایی را محدود می‌داند. کتاب “طعم گیلاس” با ارائه‌ی تحلیل‌های جذاب درباره‌ی آثار کیارستمی، یک راهنمای ارزشمند برای دوستداران هنر سینما و نقد فیلم محسوب می‌شود.
Publisher: شرکت نشر قطره
Language: Persian
زیر پوست قصه‌ها: سینمای رخشان بنی اعتماد
Author: سعید عقیقی
Summary:
«زیر پوست قصه‌ها» تحقیقی جامع درباره رابطه فیلم و واقعیت در سینمای ایران است. نویسنده، سعید عقیقی، با ترکیب نگرش مؤلف، نقد جامعه‌شناختی و ملاحظات ساختارگرایانه، به بررسی آثار سینمایی رخشان بنی‌اعتماد، کارگردان و تهیه‌کننده ایرانی معروف، می‌پردازد. کتاب به سه فیلم بانوی اردیبهشت، زیر پوست شهر و قصه‌ها می‌پردازد و به بررسی رابطه این آثار با واقعیت می‌پردازد. علاوه بر این، نقش زن در آثار بنی‌اعتماد به عنوان یک هنرمند زن نیز مورد بررسی قرار می‌گیرد. نویسنده، به دو روش تحلیل الگوهای داستان‌پردازی فیلم‌های بنی‌اعتماد می‌پردازد؛ اول بر محور زمان و پیوستگی داستان‌پردازی در طول سه دهه فعالیت بنی‌اعتماد و دوم بر محور تاریخ، که الگوهای داستانی فیلم‌های او را با ریشه‌های داستان‌گویی در تاریخ سینمای ایران مرتبط می‌کند. این کتاب با بررسی جزئیات فیلم‌ها و تحلیل نزدیک به واقعیت و نگرش‌های مختلف فیلم‌ساز به آثار خود، نقدی مستند از آثار این بزرگ‌ترین هنرمند سینمای ایران ارائه می‌دهد.
Publisher: انتشارات روزنه
Language: Persian
Abbas Kiarostami: Le cinéma à l’épreuve du réel
Author: Philippe Ragel, Abbas Kiarostami, Guy Junblut
Summary:
Platon déjà avait entrepris de penser le rapport de l’image au réel, ouvrant la voie à une riche tradition spéculative : il le faisait, bien sûr, en philosophe. Ouvreur de chemins, arpenteur de formes, le cinéaste iranien Abbas Kiarostami – sans conteste un des artistes les plus importants de ces trente dernières années – n’a cessé dans son domaine de se confronter à cette problématique majeure. A l’origine sans nul doute de cet attachement au réel : les productions pédagogiques du jeune Kiarostarni dans le cadre du département de cinéma du Kanun, qu’il fonde en 1970 sous le régime du Shah et où il signe son premier court métrage, le Pain et la rue. Suivront une vingtaine de films de facture plutôt réaliste avant que l’Europe ne découvre Où est la maison de mon ami ?, premier volet d’une trilogie qui, avec Et la vie continue… et Au travers des oliviers, le hisse bientôt au rang international. Palme d’or pour le Goût de la cerise en 1997, Abbas Kiarostami se tourne ensuite vers les technologies numériques naissantes et signe deux films qui prouvent sa grande indépendance vis-à-vis du monde professionnel et son désir de liberté jamais entamé :ABCAfrica en 2001 et Ten en 2002, deux films où la question du réel se voit reformulée par l’entremise d’un dispositif réduit à l’essentiel. Ce volume réunit un ensemble de réflexions de spécialistes mondiaux de Kiarostami ; à la faveur de thématiques qui nous sont apparues essentielles (matière, présence, durée, humanité, paysage, jeu, désir), il entend poser la question prégnante du réel à l’œuvre dans le travail du cinéaste. Réel que les films mêmes de Kiarostami invitent à ne pas envisager de façon trop étroite : il est certes en question dans la difficulté de l’artiste à en définir l’essence, mais aussi dans sa difficulté à se dire, à laisser sa trace dans l’acte de création.
Publisher: Université de Toulouse II - Le Mirail : LARA ; Yellow Now, Le Mirail, Crisnée, 2008
Language: French
Shi’i Islam in Iranian Cinema : Religion and Spirituality in Film Shi’i Islam in Iranian Cinema : Religion and Spirituality in Film
Author: Nacim Pak-Shiraz
Summary:
In recent years there has been a remarkable surge in Iranian films expressing contentious issues which would otherwise be very difficult to discuss publicly inside the Islamic Republic of Iran – such as the role of clergy in Iranian society. Nacim Pak-Shiraz here highlights how many Iranian film directors concern themselves with the content of the religious and historical narratives of culture and society, sparking debate about the medium’s compatibility or incongruity with religion and spirituality. She explores the various ways that Shi’i discourse emerges on screen, and offers groundbreakin
Publisher: I.B. Tauris, London, 2011
Language: English
Familiar and Foreign: Identity in Iranian Film and Literature
Author: Parmida Esmaeilpour
Summary:
The current political climate of confrontation between Islamist regimes and Western governments has resulted in the proliferation of essentialist perceptions of Iran and Iranians in the West. Such perceptions do not reflect the complex evolution of Iranian identity that occurred in the years following the Constitutional Revolution (1906–11) and the anti-imperialist Islamic Revolution of 1979. Despite the Iranian government’s determined pursuance of anti-Western policies and strict conformity to religious principles, the film and literature of Iran reflect the clash between a nostalgic pride in Persian tradition and an apparent infatuation with a more Eurocentric modernity. In Familiar and Foreign, Mannani and Thompson set out to explore the tensions surrounding the ongoing formulation of Iranian identity by bringing together essays on poetry, novels, memoir, and films. These include both canonical and less widely theorized texts, as well as works of literature written in English by authors living in diaspora.
Challenging neocolonialist stereotypes, these critical excursions into Iranian literature and film reveal the limitations of collective identity as it has been configured within and outside of Iran. Through the examination of works by, among others, the iconic female poet Forugh Farrokhzad, the expatriate author Goli Taraqqi, the controversial memoirist Azar Nafisi, and the graphic novelist Marjane Satrapi, author of Persepolis, this volume engages with the complex and contested discourses of religion, patriarchy, and politics that are the contemporary product of Iran’s long and revolutionary history.
Publisher: The Journal of Popular Culture, 51, February 2018, 255
Language: English
Kiarostami, Abbas. 10 (ten)
Author: Abbas Kiarostami (Director, Screenwriter, Producer), Marin Karmitz (Producer), Mania Akbari (Actor), Amin Maher (Actor), Roya Arabshahi (Actor), Katayoun Taleidzadeh (Actor), Mandana Sharbaf (Actor), Ameme Moradi (Actor), Kamran Adl (Actor), MK2 Productions
Summary:
A documentary-style film paints a portrait of contemporary Iran, as seen through the eyes of one woman as she drives through the streets of Tehran over a period of several days. Her journey is comprised of ten conversations with various female passengers — including her sister, a hitchhiking prostitute and a jilted bride — as well as her young son
Publisher: Zeitgeist Video, [United States], [2004]
Language:
The Kiarostami brand : creation of a film auteur The Kiarostami brand : creation of a film auteur
Author: Monika Raesch (Creator)
Summary:
“This thesis focuses on an analysis of Iranian filmmaker, Abbas Kiarostami, from an authorship study point-of-view.”–Page [4] of printed paper wrapper
Publisher: LAP, Lambert Academic Publishing, Köln [Cologne], 2010
Language: English
Iranian cinema uncensored : contemporary film-makers since the Islamic revolution Iranian cinema uncensored : contemporary film-makers since the Islamic revolution
Author: Shiva Rahbaran (Author, Translator), Maryam Mohajer (Translator)
Summary:
In this unique book, twelve of the most renowned and important filmmakers of contemporary Iran speak candidly about creating cinema in a revolutionised and traumatised society. They reflect on the Iranian revolution and the influence of its aftermath on their work, as well as the effects of their work on audiences worldwide. They offer first-hand insights into the influence they have had on the making of Iran’s image; how the seeds of New Iranian Cinema were sown decades before the revolution and how these seeds grew into a cinema that became a global phenomenon, despite censorship, ideology wars, sanctions and political isolation; and how they took sustenance from the works of western and global cineastes as well as from the long tradition of art and poetry of Iran
Publisher: I.B. Tauris, London, 2016
Language: English
Reform cinema in Iran : film and political change in the Islamic Republic
Author: Blake Robert Atwood
Summary:
It is nearly impossible to separate contemporary Iranian cinema from the Islamic revolution that transformed film production in the country in the late 1970s. As the aims of the revolution shifted and hardened once Khomeini took power and as an eight-year war with Iraq dragged on, Iranian filmmakers confronted new restrictions. In the 1990s, however, the Reformist Movement, led by Mohammad Khatami and the film industry, developed an unlikely partnership that moved audiences away from revolutionary ideas and toward a discourse of reform. In Reform Cinema in Iran, Blake Atwood examines how new i
Publisher: Columbia University Press, New York, 2016
Language: English
Abbas Kiarostami Abbas Kiarostami
Author: Mehrnaz Saeed-Vafa, Jonathan Rosenbaum
Summary:
This penetrating study of the Iranian filmmaker Abbas Kiarostami’s life and work engages a cross-cultural dialogue between Mehrnaz Saeed-Vafa, an Iranian filmmaker, and Jonathan Rosenbaum, a film critic, both of whom have an intense interest in Kiarostami’s work. A pioneer in Iranian cinema and considered one of the most controversial and influential filmmakers alive, Kiarostami has written or directed more than twenty films. He gained notoriety in the West in the 1990s with the breakaway films “Close-Up” and “Through the Olive Trees” and became the first Iranian director to win the Palme d’Or at the Cannes Film Festival for “Taste of Cherry”. He is also largely credited for his contributions to the Iranian New Wave. Abbas Kiarostami is the first full-length, English-language study of his work. A unique and resplendent collaboration featuring two distinct but complementing perspectives, the book places Kiarostami and his films in a national context and provides American readers with valuable insights into Iranian culture, Kiarostami’s portrayal of women and politics, and his influence on other filmmakers.
Publisher: University of Illinois Press, Urbana, 2018
Language: English
Men at work : cinematic lessons from Abbas Kiarostami
Author: Maḥmūd Riz̤ā S̲ānī (Author), Jean-Claude Carrière, Alireza Lalehfar (Translator)
Summary:
Publisher: Mhughes Press, Los Angeles, CA, 2013
Language: English
Abbas Kiarostami’s Cinema of Life- From Homework to Like Someone in Love
Author: Julian Rice
Summary:
“Abbas Kiarostami’s Cinema of Life focuses on this major filmmaker’s opposition to war, his eclectic spirituality which opposes orthodox Islam, and the symbolic texture of his cinema which is more attuned to poetic than philosophical interpretation. It is one of only a few English language books on Kiarostami’s films, and the only to cover the most-up-to-date films and consider the Iranian context of Kiarostami’s films, with a focus on content and continuity of the individual films”– Provided by publisher
Publisher: Rowman & Littlefield, Lanham, 2020
Language: English
The Poetics of Iranian Cinema : Aesthetics, Modernity and Film after the Revolution
Author: Khatereh Sheibani
Summary:
In the wake of the 1979 Iranian Revolution, Iranian society and culture underwent massive changes. Here, Khatereh Sheibani argues that cinema evolved after the national uprising in 1978/79, and ultimately replaced poetry as the dominant form of cultural expression. She presents a comparative analysis of post-revolutionary Iranian cinema as an offshoot of Iranian modernity, and explains its connections with the themes present in traditional Persian poetry and conventional visual arts. She examines the pre-revolutionary film industry – such as Iranian new wave and filmfarsi movies – its styles a
Publisher: I.B. Tauris, London, 2011
Language: English
Iranian cinema and globalization : national, transnational and Islamic dimensions Iranian cinema and globalization : national, transnational and Islamic dimensions
Author: Shahab Esfandiary
Summary:
Annotation Despite critical acclaim and a recent surge of popularity with Western audiences, Iranian cinema has been the subject of lamentably few academic studiesand those have by and large been limited to the films and filmmakers most visible on the international film circuit. Iranian Cinema and Globalizationseeks to broaden readers exposure to other dimensions of Iranian cinema, including the works of the many prolific filmmakers whose films have received little outside attention despite being widely popular within Iran. Combining theories of globalization and national cinema with in-depth, interdisciplinary analyses of individual films, this volume expands the current literature on Iranian cinema with insights into the social, and religious political contexts involved
Publisher: Intellect, Bristol [England], 2012
Language: English
The new Iranian cinema : politics, representation and identity
Author: Richard Tapper
Summary:
Iranian cinema is today widely recognized not merely as a distinctive national cinema, but as one of the most innovative in the world. This international stature both fascinates Western observers and appears paradoxical in line with perceptions of Iran as anti-modern. The largely Iranian contributors to this book look in depth at how Iranian cinema became a true ‘world cinema’. From a range of perspectives, they explore cinema’s development in post Revolution Iran and its place in Iranian culture.
Publisher: I.B. Tauris, London, 2002
Language: English
Cine iraní
Author: Clara Janneth Santos Martínez
Summary:
Este libro propone una visión general sobre la cinematografía iraní y constituye la primera publicación en español de textos científicos por autores iraníes y españoles. El lector podrá aproximarse a temas vertebrales de la cultura cinematográfica de Irán, que abarcan desde aspectos relacionados con la evolución histórica del cine o de la música para la pantalla, hasta estudios sobre los personajes y análisis de películas emblemáticas como ¿Dónde está la casa de mi amigo?, El color del paraíso o Nader y Simin, una separación, todo ello acompañado de unas profusas bibliografías y filmografías, así como de entrevistas y diversos materiales gráficos.
Publisher: Icono14, Madrid, 2013
Language: Spanish
Abbas Kiarostami
Author: Bruno Roberti
Summary:
Publisher: D. Audino, Roma, ©1996
Language: Italian
Abbas Kiarostami : le cinéma revisité
Author: Frédéric Sabouraud
Summary:
La découverte des premiers films d’Abbas Kiarostami tels que Où est la maison de mon ami ? (1987) fut l’objet d’un engouement immédiat d’une part importante de la critique occidentale qui s’empressa de souligner la parenté de son œuvre avec le Néoréalisme italien. Dans le même temps, force était de constater que l’esthétique et le récit des films de Kiarostami révélaient des influences de la culture iranienne ancestrale telles que la miniature persane et les poèmes mystiques. Ainsi, d’emblée, l’œuvre se présentait comme située à la croisée de plusieurs chemins, géographiques, esthétiques et historiques complexes à articuler. Les films plus récents tels que Le Goût de la cerise (1997), Le Vent nous emportera (1999) ou Ten (2002) ont encore enrichi cette problématique de par l’épure de leur stylistique et l’évolution du dispositif (avec, notamment pour Ten, le recours à la vidéo digitale grand public), recoupant des questions essentielles concernant le cinéma contemporain (perte d’aura, maniérisme, minimalisme, place du spectateur). Cette étude des lignes de force de l’œuvre d’Abbas Kiarostami prise sous ses multiples facettes (films, vidéos, installations, poèmes, opéra) est traversée par un double objectif : tenter d’en saisir, sous l’apparent dépouillement, la complexité cachée en prenant en compte la manière dont elle s’inscrit dans un contexte particulier – l’Iran d’avant et après la prise de pouvoir par les Mollahs en 1979 – qui l’amène à inventer une subtile logique de contournement de la censure. Elle offre aussi l’occasion de remettre à l’ouvrage la notion même de modernité dans une perspective plus vaste suscitée par l’œuvre elle-même, incluant les champs de l’art et de la philosophie
Publisher: Presses universitaires de Rennes, Rennes, 2019
Language: French
Abbas Kiarostami : le forme dell’immagine
Author: Elio Ugenti
Summary:
Una volta Jean-Luc Godard disse che il cinema comincia con Griffith e finisce con Kiarostami. Questo libro, dedicato all’opera del regista iraniano, si propone di fornire alcuni percorsi d’analisi dei suoi film e delle sue videoinstallazioni, evidenziando anche alcuni tratti essenziali della sua produzione fotografica. L’intento principale è quello di far risaltare la portata intermediale dell’opera di questo autore e la complessità del discorso sulla visualità che a essa soggiace.Le traiettorie proposte all’interno del libro strutturano un’indagine di tipo non lineare (sul piano cronologico) e individuano alcuni snodi fondamentali nel percorso artistico di Kiarostami, selezionando alcune delle sue opere e tornando più volte su di esse per interrogarle alla luce di prospettive d’analisi differenti. Questo metodo consente di far emergere la forte coerenza interna che caratterizza la produzione del regista – che si dipana lungo un arco di oltre quarant’anni – e, contemporaneamente, di portare alla luce l’esigenza di una continua reinvenzione formale che investe tanto lo stile quanto le modalità d’esposizione delle opere.Dai film per la sala, alle videoinstallazioni, alle fotografie, fino a una non convenzionale forma di interazione tra video e teatro: le forme dell’immagine kiarostamiana si modificano e interferiscono tra loro per dar vita a un percorso autoriale eterogeneo ma straordinariamente coerente.
Publisher: Bulzoni, Roma, 2018
Language: Italian
Women’s cinema, world cinema : projecting contemporary feminisms
Author: Patricia White
Summary:
“In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture”–Publisher’s Web site
Publisher: Duke University Press, Durham, 2015
Language: English
Matthias Wittmann, Ute Holl (eds.). Counter-Memories in Iranian Cinema
Author: Max Bledstein
Summary:
This book offers a valuable and diverse set of essays on Iranian cinema. The theme on which Wittmann and Holl base the collection facilitates the diversity: the contributors provide different perspectives on how Michel Foucault’s concept of “counter-memory” can be mobilized to understand the country’s films. Although the volume makes no attempt at a single argument, the chapters together demonstrate ways in which filmmaking in Iran has questioned and challenged cultural and political narrativ..
Publisher:
Language: English
Temporary marriage in Iran : gender and body politics in modern Iranian film and literature
Author: Claudia Yaghoobi
Summary:
“In Iran, marriage has been crucial to the establishment of the family as a fundamental unit of society. Religiously speaking, marriage is a fundamental aspect of Islam, the dominant religion in Iran. The Quran abounds in verses describing the genesis of life based on love, sex, and procreation. However, sexuality can also impinge directly on the social order and thus must be regulated through marriage. In the case of Iranian women, according to Soraya Tremayne, marriage is especially “fundamental to the social identity of all women, regardless of their achievements in other spheres of life, and pressure on women to marry persists.” This pressure stems from the patriarchal system in which women gain social status through their relationship with a man. Before marriage, social identity is granted through the connection of a woman with her father or legal guardian. After marriage, her status derives from a woman’s relationship with her husband. Such relationships relegate women to the domain of spouse, mother, and daughter. Women are defined in the context of their relationships with their men and therefore remain in the shadows. Hence, women are considered extensions of the men in their family, whose responsibility it is to police these women’s sexuality. This type of power structure is why unmarried, divorced, or widowed women pose a threat to the social order of a community, due to their alleged unbridled sexuality. Therefore, sigheh (temporary) marriages are mainly encouraged for unmarried, divorced, or widowed women in an effort to keep them sexually satisfied/controlled”– Provided by publisher
Publisher: Cambridge University Press, Cambridge, United Kingdom, 202
Language: English
40 años de cine iraní : el caso de Dariush Mehryui
Author: Farshad Zahedi, Cuarenta años de cine iraní.
Summary:
La obra de Dariush Mehryui es especialmente importante por su estrecha vinculación con las realidades sociales de Irán a lo largo de los últimos 40 años. El estudio de su obra, para un observador lejano, será como una oportunidad para conocer las manifestaciones del espíritu de esta nación. Usado-NUEVO 40 AÑOS DE CINE IRANI
Publisher: Editorial Fragua, Madrid, 2010
Language: Spanish
The politics of Iranian cinema : film and society in the Islamic Republic The politics of Iranian cinema : film and society in the Islamic Republic
Author: Saeed Zeydabadi-Nejad
Summary:
Iran has undergone considerable social upheaval since the revolution and this has been reflected in its cinema. Drawing on first-hand interviews and detailed ethnographic research, this book explores how cinema is engaged in the dynamics of social change in contemporary Iran. The author not only discusses the practices of regulation and reception of films from major award winning directors but also important mainstream filmmakers such as Hatamikia and Tabizi.
Contributing to ethnographic accounts of Iranian governance in the field of culture, the book reveals the complex behind-the-scenes negotiations between filmmakers and the authorities which constitute a major part of the workings of film censorship. The author traces the relationship of Iranian cinema to recent social/political movements in Iran, namely reformism and women’s movement, and shows how international acclaim has been instrumental in filmmakers’ engagement with matters of political importance in Iran.
This book will be a valuable tool for courses on film and media studies, and will provide a significant insight into Iranian cultural politics for students of cultural studies and anthropology, Middle Eastern and Iranian studies.
Publisher: Routledge, London, 2010
Language: English
Popular Iranian cinema before the revolution : family and nation in fīlmfārsī Popular Iranian cinema before the revolution : family and nation in fīlmfārsī
Author: Pedram Partovi
Summary:
Critics and academics have generally dismissed the commercial productions of the late Pahlavi era, best known for their songs and melodramatic plots, as shallow, derivative ‘entertainment’. Instead, they have concentrated on the more recent internationally acclaimed art films, claiming that these constitute Iranian ‘national’ cinema, despite few Iranians having seen them. Film discourse, and even fan talk, have long attempted to marginalize the mainstream releases of the 1960s and 1970s with the moniker filmfarsi, ironically asserting that such popular favorites were culturally inauthentic.
This book challenges the idea that filmfarsi is detached from the past and present of Iranians. Far from being escapist Hollywood fare merely translated into Persian, it claims that the better films of this supposed genre must be taken as both a subject of, and source for, modern Iranian history. It argues that they have an appeal that relies on their ability to rearticulate traditional courtly and religious ideas and forms to problematize in unexpectedly complex and sophisticated ways the modernist agenda that secular nationalist elites wished to impose on their viewers. Taken seriously, these films raise questions about standard treatments of Iran’s modern history.
By writing popular films into Iranian history, this book advocates both a fresh approach to the study of Iranian cinema, as well as a rethinking of the modernity/tradition binary that has organized the historiography of the recent past. It will appeal to those interested in Iranian cinema, Iranian history and culture, and, more broadly, readers dissatisfied with a dichotomous approach to modernity.
Publisher: Routledge, an imprint of the Taylor & Francis Group, Abingdon, Oxon, 2017
Language: English
Front cover image for My sister, guard your veil ; my brother, guard your eyes : uncensored Iranian voices My sister, guard your veil ; my brother, guard your eyes : uncensored Iranian voices
Author: Lila Azam Zanganeh
Summary:
The brief, often breezy essays, reminiscences, reportage and interviews overturn the facile image of Iran as a single, homogenous entity, providing animated discussions of politics, sex, art, women’s rights, racism, poetic culture, underground nightlife, Tehran’s Jewish community, censorship, economic inequality and cross-cultural (mis)understanding under a regime that is highly oppressive but continually subverted
Publisher: Beacon Press, Boston, Mass., ©2006
Language: English
Displaced allegories : post-revolutionary Iranian cinema
Author: Negar Mottahedeh
Summary:
Following the 1979 Iranian Revolution, in order to conform with the Islamic Republic’s system of modesty, Iran’s film industry was required to ensure that Iranian women who appeared on-screen were veiled from the view of men, both on-screen and off. This prohibition prevented Iranian filmmakers from relying on the desiring gaze, a staple cinematic system of looking. In “Displaced Allegories”, Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found new creative ground not in the negation of government regulations but in the camera’s adoption of the modest, averted gaze. The filmic techniques and cinematic technologies were gendered feminine in the process; the national cinema was produced as a woman’s cinema. Mottahedeh asserts that, in response to the prohibitions against the desiring look, a new narrative cinema emerged as the displaced allegory of the constraints on the post-Revolutionary Iranian film industry. Allegorical commentary was not developed in the explicit content of cinematic narratives but through formal innovations. Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’I, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post-Revolutionary Iranian films. She insists that such analyses of cinema’s visual codes and conventions are crucial to the study of international film. As Mottahedeh points out, the discipline of film studies has traditionally seen film as a medium that communicates globally because of its dependence on a (Hollywood) visual language assumed to be universal and legible across national boundaries.”Displaced Allegories” demonstrates that visual language is not necessarily universal; it is sometimes deeply informed by national culture and politics
Publisher: Duke University Press, Durham, ©2008
Language: English
Front cover image for Iranian cinema and the Islamic revolution Iranian cinema and the Islamic revolution
Author: Shahla Mirbakhtyar
Summary:
“Until recent years Iranian cinema was relatively unknown. Even now, in spite of international award-winning productions, it is under-exposed relative to films from other countries. This volume examines Iranian cinema before and after the Islamic Revolution of 1979”–Provided by publisher
Publisher: McFarland, Jefferson, N.C., ©2006
Language: English
Tarihsel gelis̜imin is̜ığında İran sinemasi
Author: Mahrokh Shirin pour
Summary:
Bu tez çalışması İran sinemasının anlatı özelliklerinin ne olduğuna odaklanmıştır. 2011 yılında Asghar Farhadi’nin Bir Ayrılık adlı filmi Oscar ödülünü kazanınca, ödülün politik bir duruşa karşı sırt sıvazlayan bir destek mi yoksa sinema endüstrisinin arka kapılarının ardında kurulan bir iş birliğinin yansıması mı olduğu herkes tarafından merak edilen bir konu olmuştu. Şahsi merakım ise tüm bu ve bunun gibi soruların dışında kalan, yalnızca İranlıları ilgilendiren bir soru üzerine yoğunlaşmıştı. Acaba bu filme dolayısı ile ödüle kendi özlerinin yansımaları katkı sağlamış mıydı? Bu filmin kendine özgü tarafı ne idi? Böylece İran sinemasının “özgün” diye adlandırılan sinema dilini büyüteç altına almak üzere “anlatısını” araştırmaya başladım. Bu bağlamda çalışmada ilk olarak anlatının kavramsal özellikleri, doğuşundan günümüze toplumsal gelişim evreleri ve kuramsal alanda yapılan çalışmalar araştırılmıştır. Ardından İran’da sinemanın başlangıcından günümüze kadar olan siyasi ve sosyal tarih, sinema tarihiyle eş zamanlı olarak takip edilmiştir. Ayrıca hasılat rekorları kıran ya da festivallerde önemli ödüller alan öne çıkmış çoğu filmin afiş-konu-tema gibi özellikleri, filmlerin sinema alanındaki kültürel konumunu da içine alan bir anlayışla incelenmiştir. Son olarak inceleme Bir Ayrılık filmi üzerinde detaylandırılarak İran sinemasına kendine özgü sinema dilini kazandıran alegorik ifade, gerçekçi yaklaşım, gerçeklikle ilişkide kabul verici eğilim, sıradan hikâye seçimi, irfani temaların kullanımı gibi yerel anlatı özellikleri tespit edilmiştir. Anahtar Kelimeler:Anlatı, Sinemada anlatı, İran sineması, Seymour Chatman, Asghar Farhadi, Bir Ayrılık.
Publisher: es Yayınları, Istanbul, 2007
Language: Turkish
The films of Makhmalbaf : cinema, politics & culture in Iran
Author: Eric Egan
Summary:
Examines the close and volatile relationship between a highly popular art form, the production of culture, and the politics of power in a society. Through a critical analysis of Mohsen Makhmalbaf’s films, Egan reveals the social and political context of Iran’s national cinema under the Islamic Republic. It tracks the emergence of Iranian cinema since the Islamic Revolution, as Makhmalbaf, one of Iran’s most influential filmmakers, and a committed artist whose work is provocative and never far from controversy, sought to engage the dramatic social and political upheavals that have taken place over the past twenty-four years. From publisher description
Publisher: Mage Publishers, Washington, DC, 2005
Language: English
Allegory in Iranian cinema : the aesthetics of poetry and resistance
Author: Michelle Langford (Author)
Summary:
“Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, allegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts – developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack – to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in Iranian Cinema explains how a centuries-old means of expression, interpretation, encoding and decoding becomes, in the hands of Iran’s most skilled cineastes, a powerful tool with which to critique and challenge social and cultural norms.”–Bloomsbury Publishing
Publisher: Bloomsbury Academic, London, 2019
Language: English
Abbas Kiarostami and Jim Jarmusch
Author: Andreas Kramer (Editor), Jan Volker Röhnert (Editor)
Summary:
The Wind Will Carry Us“ Die Beziehungen des großen internationalen Kinos zum literarischen Genre der Lyrik sind wenig erforscht. Zwei der bedeutendsten Regisseure des gegenwärtigen Kinos, Jim Jarmusch (* 1953) und Abbas Kiarostami (1940–2016), haben in ihren Filmen wiederholt mit Lyrik gearbeitet oder sie gar zum Thema ihrer Filme gemacht. Der Sammelband untersucht am Beispiel des Schaffens von Jarmusch und Kiarostami, wie lyrische Strukturen, Gesten und Traditionen auf der Leinwand umgesetzt werden und dabei ihre eigene filmische Dynamik entwickeln.
Publisher: Edition Faust, Frankfurt am Main, 2020
Language: English
Kara perde : İran yönetmen sineması üzerine okumalar
Author: Hüseyin Köse (Editor), Enis Rıza Sakızlı (Editor), Papatya Tıraşın (Redaktor)
Summary:
Mutlak kesinliklerle dolu bir akıl yürütmenin can sıkıcı saydamlığı olmasa, rastlantının bozguncu diline hükmetmenin yaralayıcı şiirinden söz edebilir miydik? Ya manevi yoksulluğun Farisi bakışı olmadan, sinemanın idyllic harmanından? Kara çarşafların kapkara hüznü dilsizliğin bastırılmış hırıltısına karıştığında, en iddiasız yaşamın en tantanasız görüntüsü bile patlamaya hazır bir silah olup çıkar hemen. Çünkü ölçülü mütevazılığın bakiyesi tekinsizdir her koşulda. İran sinemasının hesaplı ve ölçülü sükunetinde de uçsuz bucaksız düş gücünün göz açıp kapayıncaya kadar yakıcı düşüncelere tercüme edilişinin imkansız güzelliğiyle karşılaşırız; gerçeklikle iç içe geçmiş gizemlerin, türlü paralaks hallerinin farklı anlamsal katmanlarıyla. Bu filmlerde sinematografik dilin her bakımdan kurmaya özen gösterdiği dinginlik, sözcüğün gerçek anlamında sevinçli bir dileyiştir. Coğrafyanın, kelimenin tam anlamıyla bir “kader” olarak algılandığı bir yaşamın ihtiva ettiği kırılgan şiirsellikle katıksız iyimserlik arasında bitimsiz bir gidiş-geliş. Bu öylesine zahmetli bir mesaidir ki, apaçık ortada duranın ikinci kez adlandırılmasını ya da farkına varılmasını fuzuli bir çabaya dönüştürür. Anlamayı groteskleştirir, belirsizliği daha da belirginleştirirken… Farisi sinemanın belli başlı filmlerine adlarını veren sözcüklerin anlam bagajı o denli geniştir ki, belki de bu yüzden Ghobadi’nin evreni baştan sona bir Gergedan Mevsimi’dir; Macidi’ninki meşum bilinçlerin ve kusurlu bedenlerin karanlığı içinden devşirilmiş Tanrı’nın Rengi; şehvet yoğunluğuyla köreltilmiş çağcıl aşkları adeta yağmur damlalarının saflığıyla yeniden arıtmayı öneren Baran; Mahmelbaf’ınki ömrü Sükut’a adanmış bir arının her sabah küçük bir cam kavanozda yeni baştan akort ettiği Hayat; Kiarostami’ninki bütün bir agonist çabayı ağızda sulu bir hazza dönüştüren Kirazın Tadı; Penahi’ninki Daire’vi ve tekdüze bir yaşamın metafizik şiddetiyle sendeleyerek farklı bir gerçeğe uyanmış insanların yüzünde parçaladığı bir Ayna; Mehrjui’ninki pastoral nitelikli bir direnişi toplumsal gerçekliğin masalsı diline tercüme eden İnek; Farhadi’ninki ne pahasına olursa olsun hayatta kalma iradesine eşlik eden özgürlük arayışını ahlaksal linç eyleminin doksan derecelik dik açısıyla birleştiren Elly Hakkında ve final sahnesinde ebeveynlerine yönelik yaşadığı seçim yapma zorluğuyla kültürel tercihleri arasında sıkışıp kalmış bir toplumun mütereddit halini somutlayan Bir Ayrılık; son olarak da, Kara Ev’lerin ürperten aydınlığını tozlu Tahran sokaklarının büyülü görselliğiyle harmanlayarak fazladan şiir katan Füruğ, v.s.
Farisi film kahramanlarının her koşulda “yaşamı başarmasının” şiir yüklü dermansızlığına gelince; çaresizlik dolu görüntülerinin kupkuru alevi bile ışıksız kalplere baruttur çoğu zaman; en yakıcı umutsuzlukların meydan okuyucu tavrı karşısındayken bile, umarsızca çekip gitmelerin esrik vapuru gibidirler. Ez cümle, nicedir hayatın yaptığı şaşmaz kurgunun insanda uyandırılabilecek yegane acayip gerçeklik kurgusu olduğunu fısıldıyor kulağımıza İran sineması. Unamuno’nun deyişiyle, yaşamın trajik kurgusu yerine, gün geçtikçe daha da ağırlaşan trajik duygusunu.
Publisher: Ayrıntı Yayınları, İstanbul, 2014
Language: Turkish
El viento nos llevará Le vent nous emportera
Author: Abbas Kiarostami, Mahmoud Kalari, Peyman Yazdanian, Marin Karmitz, Behzad Dorani, Noghre Asadi, Roushan Karam Elmi, Pat Collins, Fergus Daly, Mostra Internazionale d'Arte Cinematografica
Summary:
El rodaje de una película en la pequeña localidad kurdo-iraní de Siah Dareh provocará una pequeña revolución entre los habitantes del pueblo, convencidos de que los miembros del rodaje son en realidad buscadores de un tesoro que se halla en el cementerio local
Publisher: dist. Avalon Distribucion Audiovisual, Madrid, D.L. 2011
Language:
Front cover image for In Begleitung des Windes Gedichte In Begleitung des Windes Gedichte
Author: Abbas Kiarostami
Summary:
Publisher: Suhrkamp, Frankfurt am Main, 2004
Language: German