Film Festival 2013
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Iranian Women's Quest for Self-Liberation Through
IRANIAN WOMEN’S QUEST FOR SELF-LIBERATION THROUGH THE INTERNET AND SOCIAL MEDIA: AN EMANCIPATORY PEDAGOGY TANNAZ ZARGARIAN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO December 2019 © [Tannaz Zargarian, 2019] i Abstract This dissertation examines the discourse of body autonomy among Iranian women. It approaches the discourse of body autonomy by deconstructing veiling, public mobility, and sexuality, while considering the impact of society, history, religion, and culture. Although there are many important scholarly works on Iranian women and human rights that explore women’s civil rights and freedom of individuality in relation to the hijab, family law, and sexuality, the absence of work on the discourse of body autonomy—the most fundamental human right—has created a deficiency in the field. My research examines the discourse of body autonomy in the context of liberation among Iranian women while also assessing the role of the internet as informal emancipatory educational tools. To explore the discourse of body autonomy, I draw upon critical and transnational feminist theory and the theoretical frameworks of Derayeh, Foucault, Shahidian, Bayat, Mauss, and Freire. Additionally, in-depth semi-structured interviews with Iranian women aged 26 to 42 in Iran support my analysis of the practice and understanding of body autonomy personally, on the internet, and social media. The results identify and explicate some of the major factors affecting the practice and awareness of body autonomy, particularly in relation to the goal of liberation for Iranian women. -
Sydney Film Festival Presents by Popular Demand at Palace Cinema
MEDIA RELEASE TUESDAY 14 JUNE 2016 SYDNEY FILM FESTIVAL PRESENTS BY POPULAR DEMAND AT PALACE CINEMA Sydney Film Festival announces popular festival films will be screened at Palace Cinemas in Leichhardt and Paddington, for an additional three evenings from Monday 20 to Wednesday 22 June. “By Popular Demand, at Palace Verona and Norton Street cinemas will show twelve additional screenings of Festival films, where Festival screenings have proved extremely popular,” said Festival Director Nashen Moodley. “This is the second year we will extend our run for top-selling films beyond the end of the Festival. These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year,” he said. “We are thrilled to be working with Sydney Film Festival to give audiences the chance to see these exceptional films at our cinemas” said Palace Verona and Norton Street Cinemas’ CEO, Benjamin Zeccola. “At Palace Cinemas we are focussed on delivering the best quality films with a first-rate cinema-going experience and this partnership perfectly aligns with that focus”. Eight features and three documentaries will screen again at By Popular Demand at Palace Cinemas. Features such as John Carney’s latest beguiling portrait of ’80s Dublin, complete with stone-washed denim, wild haircuts and a nostalgic soundtrack Sing Street; divisive Sundance debut film Swiss Army Man starring Paul Dano and Daniel Radcliffe, by music video directors Daniel Scheinert and Daniel Kwan; Polish romance-horror-mermaid-musical The Lure; and Kristen Stewart in a spooky ghost story by Olivier Assayas Personal Shopper. -
La Discapacidad Visual En El Cine Iraní
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN TESIS DOCTORAL La discapacidad visual en el cine iraní MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Zahra Razi Directora Isabel Martín Sánchez . Madrid Ed. electrónica 2019 © Zahra Razi, 2019 UNIVERSIDAD COMPLUTENSE DE MADRID Facultad de Ciencias de la Información Departamento de Periodismo y Comunicación global TESIS DOCTORAL La discapacidad visual en el cine iraní MEMORIA PARA OPTAR AL GRADO DE DOCTOR Autora: Zahra Razi Directora: Dra. Isabel Martín Sánchez Madrid, 2018 I Agradecimientos En primer lugar quiero agradecer de manera destacada a mi directora, Dra. Isabel Martín Sánchez, la confianza que ha mostrado en esta investigación desde el principio, el apoyo constante durante el desarrollo de la tesis y el intenso trabajo en los últimos meses para concluir este trabajo de investigación. Le agradezco la confianza, apoyo y dedicación de tiempo a mis profesores: Dra. María Antonia Paz, Dr. Francisco García García, Dr. Bernardino Herrera León, Dr. Joaquín Aguirre Romero, Dr. Vicente Baca Lagos y Dr. Emilio Carlos García por haber compartido conmigo sus conocimientos y sobre todo su amistad. Además, quiero agradecer a la Universidad Complutense de Madrid, la posibilidad que me ofreció de realizar, entre 2012 y 2014, el Máster en Comunicación Social, cuyo trabajo final es el embrión de esta tesis doctoral en 2018, que me abrió la puerta a una realidad social, hasta entonces conocida pero no explorada, como es el mundo de la discapacidad visual en el cine iraní. A Ana Crespo, por ser parte de mi vida académica, gracias por su apoyo, comprensión y sobre todo amistad y dedicación de tiempo. -
12 Big Names from World Cinema in Conversation with Marrakech Audiences
The 18th edition of the Marrakech International Film Festival runs from 29 November to 7 December 2019 12 BIG NAMES FROM WORLD CINEMA IN CONVERSATION WITH MARRAKECH AUDIENCES Rabat, 14 November 2019. The “Conversation with” section is one of the highlights of the Marrakech International Film Festival and returns during the 18th edition for some fascinating exchanges with some of those who create the magic of cinema around the world. As its name suggests, “Conversation with” is a forum for free-flowing discussion with some of the great names in international filmmaking. These sessions are free and open to all: industry professionals, journalists, and the general public. During last year’s festival, the launch of this new section was a huge hit with Moroccan and internatiojnal film lovers. More than 3,000 people attended seven conversations with some legendary names of the big screen, offering some intense moments with artists, who generously shared their vision and their cinematic techniques and delivered some dazzling demonstrations and fascinating anecdotes to an audience of cinephiles. After the success of the previous edition, the Festival is recreating the experience and expanding from seven to 11 conversations at this year’s event. Once again, some of the biggest names in international filmmaking have confirmed their participation at this major FIFM event. They include US director, actor, producer, and all-around legend Robert Redford, along with Academy Award-winning French actor Marion Cotillard. Multi-award-winning Palestinian director Elia Suleiman will also be in attendance, along with independent British producer Jeremy Thomas (The Last Emperor, Only Lovers Left Alive) and celebrated US actor Harvey Keitel, star of some of the biggest hits in cinema history including Thelma and Louise, The Piano, and Pulp Fiction. -
Connecting Through Dance
Connecting Through Dance: The Multiplicity of Meanings of Kurdish Folk Dances in Turkey Mona Maria Nyberg Thesis submitted in partial fulfillment of the M.A. degree Department of Social Anthropology, University of Bergen Spring 2012 The front page photograph is taken by Mona Maria Nyberg at a Kurdish wedding celebration. The women who are dancing in the picture are not informants. II Acknowledgements While studying for an exam during my time as a bachelor student, I read a work by Professor Bruce Kapferer which made me reconsider my decision of not applying for the master program; I could write about dance, I realized. And now I have! The process has been challenging and intense, but well worth it. Throughout this journey I have been anything but alone on this, and the list of persons who have contributed is too long to mention. First of all I need to thank my informants. Without you this thesis could not have been written. Thank you for your help and generosity! Especially I want to thank everyone at the culture centers for allowing me do fieldwork and participate in activities. My inmost gratitude goes to two of my informants, whose names I cannot write out of reasons of anonymity - but you know who you are. I want to thank you for allowing me into your lives and making me part of your family. You have contributing to my fieldwork by helping me in in innumerous ways, being my translators – both in terms of language and culture. You have become two of my closest friends. -
Portland Daily Press: March 31,1871
PORTLAND PRESS. Established June 23, 1862. Vol* 1Q> PORTLAND, FRIDAY Terms $8.00 per annum,, in advance. 'I'll·. « — — — »uiiu jLFuii rra» j IJNSUKAJNUJi. BONDS. MISCELLANEOUS. ihePnbU8hed eVery day <3·*»·*· ·"·*·«> by MISCELLANEOUS. BUSINESS DIRECTORY. THE Portland Publishing Co., DAILY PRESS. ATLA Ί* TIC. Copartnership Notice / Advertising Agency. At 109 Exchange Portland. ATWELL A PORTLAND. Street, P. CO., 174* Middle Street, Advertise- BEALS and Joseph T. Darling have ments inserted in Terms a Tear in advance. GENTLEMEN, papers in Maine and Dollars Eight THOS.this 17th day ofMarch formed a copartnership ut the through- Mutual Insurance CentralRailroad under the country at the lowed rates. name of publisher's Comp'y, THE PLACE TO GET The Maine State Pre*» (ORGANIZED IK THOS. FRIDAY, MARCH 31, 1871. 1842.) OF IOWA. P. DEALS &c CO., Agricultural Implements Λ Seeds. SI Wall corner CO., IAWYERA No. in Ki. la published every Thtrsdav Morning at »t., of William, New York. Manufacturers of and Dealers in WOOnrOKD, bange St. in at a STYLISH $2.50 a year; if paid advance, $2.00 have »ow built and Letter froui Sekrc. Injures Aerainst Marine and Inland equipped, in flrst-claes [manner, Auctioneer. year. Navigation Risks about French and Chamber 27tb, 1871. And will issue Policies Cottage Sets, 3. W. HOLMES, No. 327 Anctlon Sebec, March, making Loss in ALL CongressSt. Sale· Rates or Auvertisinq.—One inch of space, payable England. KINDS OF Private Sales the 1o the Editor : " every Evening. daring day. of the Pre»* in length of column, constitute· a square." 180 Miles Railroad, Garments Made Wood and Cane Beat of Chair·, Spring Bed·, Either from the unwise of the early $1.50 per square daily first week. -
Nassier AG Al-Zubaidi Baghdad University Baghdad, Iraq
LUBLIN STUDIES IN MODERN LANGUAGES AND LITERATURE 41(1), 2017, HTTP :// WWW .LSMLL .UMCS .LUBLIN .PL , HTTP :// LSMLL .JOURNALS .UMCS .PL Nassier A. G. Al-Zubaidi Baghdad University Baghdad, Iraq Wedding Invitation Genre: Communicating Sociocultural Identities of Iraqi Society ABSTRACT The present study examined the genre of Iraqi wedding invitation cards (WICs) in terms of its textual and visual components, and the impact of the social norms and assumptions on the articulation of these components. Drawing upon three analytic tools, namely, genre analysis proposed by Swales (1990) and Bhatia (2004), semiotic analysis suggested by Kress and Van Leeuwen (2001), and critical discourse analysis advocated by Fairclough (2010), a sample of 250 WICs was selected to be considered for analysis. Corpus analysis showed that Iraqi WICs varied in terms of their non-linguistic features like printed forms, colors, layouts, calligraphy, graphics, and paper materials. On the other hand, the underlying schematic organization of Iraqi WICs was built around seven component moves. Furthermore, Islamic religious beliefs and Iraqi socio-cultural system were clearly encoded in these wedding invitation texts affecting their organization structure. Keywords: wedding invitation cards; genre analysis; semiotic analysis; socio-cultural practices DOI: 10.17951/lsmll.2017.41.1.129 130 Nassier A. G. Al-Zubaidi 1. Introduction Invitation is “a commemorative social action having the function of informing and requesting the presence or participation of a person(s) kindly and courteously to some place, gathering, entertainment, etc., or to do something” (Al-Ali 2006: 961). A wedding invitation is of relative significance for wedding as it is the starting step for the wedding ceremony that guests will notice before the commencement of wedding. -
University of Florida Thesis Or Dissertation Formatting
VOICES OF A REBELLIOUS GENERATION: CULTURAL AND POLITICAL RESISTANCE IN IRAN’S UNDERGROUND ROCK MUSIC By SHABNAM GOLI A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2014 © 2014 Shabnam Goli I dedicate this thesis to my soul mate, Alireza Pourreza, for his unconditional love and support. I owe this achievement to you. ACKNOWLEDGMENTS Completion of this thesis would not have been possible without the help and support of many people. I thank my committee chair, Dr. Larry Crook, for his continuous guidance and encouragement during these three years. I thank you for believing in me and giving me the possibility for growing intellectually and musically. I am very thankful to my committee member, Dr. Welson Tremura, who devoted numerous hours of endless assistance to my research. I thank you for mentoring me and dedicating your kind help and patience to my work. I also thank my professors at the University of Florida, Dr. Silvio dos Santos, Dr. Jennifer Smith, and Dr. Jennifer Thomas, who taught me how to think and how to prosper in my academic life. Furthermore, I express my sincere gratitude to all the informants who agreed to participate in several hours of online and telephone interviews despite all their difficulties, and generously shared their priceless knowledge and experience with me. I thank Alireza Pourreza, Aldoush Alpanian, Davood Ajir, Ali Baghfar, Maryam Asadi, Mana Neyestani, Arash Sobhani, ElectroqutE band members, Shahyar Kabiri, Hooman Ajdari, Arya Karnafi, Ebrahim Nabavi, and Babak Chaman Ara for all their assistance and support. -
ACTA UNIVERSITATIS UPSALIENSIS Studia Iranica Upsaliensia 28
ACTA UNIVERSITATIS UPSALIENSIS Studia Iranica Upsaliensia 28 Traces of Time The Image of the Islamic Revolution, the Hero and Martyrdom in Persian Novels Written in Iran and in Exile Behrooz Sheyda ABSTRACT Sheyda, B. 2016. Traces of Time. The Image of the Islamic Revolution, the Hero and Martyrdom in Persian Novels Written in Iran and in Exile. Acta Universitatis Upsaliensis. Studia Iranica Upsaliensia 28. 196 pp. Uppsala. ISBN 978-91-554-9577-0 The present study explores the image of the Islamic Revolution, the concept of the hero, and the concept of martyrdom as depicted in ten post-Revolutionary Persian novels written and published in Iran compared with ten post-Revolutionary Persian novels written and published in exile. The method is based on a comparative analysis of these two categories of novels. Roland Barthes’s structuralism will be used as the theoretical tool for the analysis of the novels. The comparative analysis of the two groups of novels will be carried out within the framework of Foucault’s theory of discourse. Since its emergence, the Persian novel has been a scene for the dialogue between the five main discourses in the history of Iran since the Constitutional Revolution; this dialogue, in turn, has taken place within the larger framework of the dialogue between modernity and traditionalism. The main conclusion to be drawn from the present study is that the establishment of the Islamic Republic has merely altered the makeup of the scene, while the primary dialogue between modernity and traditionalism continues unabated. This dialogue can be heard in the way the Islamic Republic, the hero, and martyrdom are portrayed in the twenty post-Revolutionary novels in this study. -
1 Mahnaz Afkhami Oral History Content Summary Track 1
Mahnaz Afkhami Oral History Content Summary Track 1 [duration: 1:15:04] [Session one: 5 January 2013] [00:00] Mahnaz Afkhami [MA] Born Kerman, Iran to farming family. Description of division of responsibility within extended family. Describes household and communal living with all family in one compound of separate houses, coming together at mealtimes. Description of mealtimes with grandfather at head of dining cloth, youngest at opposite end. Evocative description of kitchen set apart from living areas and emerging platters of food, served by grandmother. Explanation of private section of household and outer areas used for greeting visitors, business, formalities, predominantly by men. Grandparents’death bringing change with each house entertaining individually. [05:08] Remarks on speed of change consistent with change in country after Second World War. Describes intermingling of agricultural workers with household members. Describes donkeys carrying fruits from harvest, then modernisation. Describes city of Kerman, houses side by side each with garden, fruit trees. Describes characteristics of pistachio trees. Describes attendance of Zoroastrian school despite family being Sheikhi, Shi’ite branch of Islam. Head of Sheikhis, head of MA’s family with belief underpinning daily affairs without observing all religious practices. Reflects on enjoyment of school atmosphere and household full of children to play with, including servant component, MA among youngest, eldest of three in immediate family. [10:29] Divorce of parents, MA age 11, move to Tehran with mother and grandmother. Describes mother, from intellectual, academically oriented Nafisi family, among first women to attend university in Iran. Mother abandoning university studies to marry. Mentions grandmother single mother supporting herself through tailoring business. -
Manifest Density: Decentering the Global Western Film
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Manifest Density: Decentering the Global Western Film Michael D. Phillips The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2932 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIFEST DENSITY: DECENTERING THE GLOBAL WESTERN FILM by MICHAEL D. PHILLIPS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 Michael D. Phillips All Rights Reserved ii Manifest Density: Decentering the Global Western Film by Michael D. Phillips This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ ________________________________________________ Date Jerry W. Carlson Chair of Examining Committee __________________ ________________________________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paula J. Massood Marc Dolan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Manifest Density: Decentering the Global Western Film by Michael D. Phillips Advisor: Jerry W. Carlson The Western is often seen as a uniquely American narrative form, one so deeply ingrained as to constitute a national myth. This perception persists despite its inherent shortcomings, among them its inapplicability to the many instances of filmmakers outside the United States appropriating the genre and thus undercutting this view of generic exceptionalism. -
Pegah Ahmadi Was Born in Tehran in 1974. She Is
Pegah Ahmadi was born in Tehran in 1974. She is the author of three volumes of poetry, On the Ending G, Cadence, and These Days of Mine Are A Throat, an interweaving of modern Farsi and ancient Persian, in which she explores the history of cruelty against women in Iran, criticizing the Islamic religion and its influence on Iran’s social-political situation, published in 2002. That same year, she also published a translation of poetry by Sylvia Plath entitled Mad Girl’s Love Song, and collected, edited, introduced and published an anthology gathering the work of Iranian women poets, both historical and contemporary. Shortly after, she was banned from publishing poetry in her home country, except, in a limited manner, through online venues run by exiled Iranian writers. In 2009, following her involvement in the Green Movement’s demonstrations against Iranian President Mahmoud Ahmadinejad, she was threatened with imprisonment, and left Iran with the assistance of the International Cities of Refuge Network (ICORN), which placed her as a guest writer in the city-of-refuge site in Frankfurt, Germany. During her years in Frankfurt her long unpublished book, I Was Not Cold, translated into German by Jutta Himmelreich, was published by Sujet Verlag in Berlin. Ahmadi is in residence at Brown for the 2011-12 academic year. Born in Tehran in 1938, Bahram Beyzaie is a well known Iranian critic, researcher, teacher, playwright, stage director (and producer), screenwriter and filmmaker (director, producer and editor) who has written more than 35 plays and more than 50 screenplays, including feature films Downpour, The Stranger and The Fog, The Crowd, Death of Yazdgerd, and Bashu, the Little Stranger.