NADER and Simin a Film by Asghar Farhadi a SEPARATION
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
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Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents -
Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P. -
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. -
Religious Studies 181B Political Islam and the Response of Iranian
Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia. -
A Representação Da Violência Contra O Idoso No Cinema.Docx.Docx
167 A violência contra os idosos nos filmes The violence against the elderly in films Lucy Gomes Vianna Hugo Henrique Alves Ferreira Josiane Aparecida Duarte Bruna Miclos de Oliveira Cristina S. Cunha Norma D’Albuquerque Augusto Armando José China Bezerra RESUMO: Com o envelhecimento populacional, há necessidade do debate sobre a violência contra a pessoa idosa, com o intuito de esclarecer e conscientizar a população sobre o tema. A utilização de filmes é recurso pedagógico eficaz, contribuindo para a reflexão e o entendimento dessa situação. Objetiva este estudo coletar e analisar imagens em produções cinematográficas que expressem as diferentes formas de violência contra o indivíduo idoso. Como material e método, foi feita análise da filmografia nacional e internacional, identificando cenas em filmes comerciais que retratem a violência contra o idoso. Foram pesquisados alguns sites mais representativos e elencados os filmes que apresentam cenas mostrando diferentes formas de violência contra a pessoa idosa. Como resultados, listaram-se 58 filmes com cenas retratando violência contra os idosos, em suas diferentes formas, sendo: 24 (41%) violência física; 18 (31%) violência psicológica; 14 (24%) violência social; 10 (17%) autonegligência; 10 (17%) abuso econômico; 6 (10%) abandono; 3 (5%) violência sexual; e 3 (5%) negligência. Como conclusão, pode-se afirmar que, utilizando-se da imagética cinematográfica, é possível difundir a problemática e ampliar as instâncias para denúncias de maus-tratos contra os idosos, buscando-se enfocar a cidadania das pessoas idosas, tanto na garantia de seus direitos, como na participação e ressignificação do contexto e das imagens do envelhecimento. Palavras-chave: Idoso; Violência; Filmes. Vianna, L.G., Ferreira, H.H.A., Duarte, J.A., Oliveira, B.M.de, Cunha, C.S., Augusto, N.D’A., & Bezerra, A.J.C. -
World Cinema Amsterd Am 2
WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival. -
Center for Engaged Learning & Teaching Ethics & International Film
Center for Engaged Learning & Teaching Faculty Development/Cross-Divisional Teaching Materials Ethics & International Film across the Curriculum Julie Levinson, Virginia Newhall Rademacher - Arts & Humanities Film Title: A Separation Country: Iran Director: Asghar Farhadi Year: 2011 Principal Characters: Simin (Leila Hatami), Nader (Peyman Moaadi), Termeh (Sarina Farhadi), Hojjat (Shahab Hosseini), Razieh (Sareh Bayat), Nader’s father (Ali Asghar Shahbazi) Summary: A married couple is faced with a difficult decision – to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer's disease. As they interact with other Iranians and with state institutions, their personal situation becomes increasingly complicated and their marriage becomes strained to the breaking point. Beyond being compelling story about individual lives, A Separation is a rich and resonant contemplation of personal ethics and social power. Discussion Questions How do personal problems intersect with social institutions? How do civil law, religious law, and individual conscience collide in the film? How is social class presented in the film? What tensions are revealed between those of different classes and education levels? How is power vested in individuals and institutions? To what extent do these characters have power to decide their own fate? In what ways is their power to determine their lives limited by state power? How is the philosophical distinction between individual free will and social determinism conveyed? The film is full of delicate negotiations between individuals. Life seems to be a serial transaction. Cite some of the points of negotiation. How are these worked out (or not)? Is it possible to be fair to everyone in these negotiations? With whom do our dramatic sympathies lie? Does this shift during the film? This teaching note was prepared by Professor Julie Levinson and Assistant Professor Virginia Newhall Rademacher, both in the Arts and Humanities division at Babson College. -
Jodaeiye Nader Az Simin
W-6885:W_ 28.01.2011 16:51 Uhr Seite 28 Berlinale 2011 Asghar Farhadi Wettbewerb JODAEIYE NADER AZ SIMIN NADER AND SIMIN, A SEPARATION NADER AND SIMIN, A SEPARATION NADER ET SIMIN, UNE SEPARATION Iran 2011 Darsteller Simin Leila Hatami Länge 123 Min. Nader Peyman Moadi Format 35 mm, 1:1.85 Hodjat Shahab Hosseini Farbe Razieh Sareh Bayat Termeh Sarina Farhadi Stabliste Richter Babak Karimi Regie Asghar Farhadi Naders Vater Ali-Asghar Buch Asghar Farhadi Shahbazi Kamera Mahmood Kalari Simins Mutter Shirin Schnitt Hayedeh Safiyari Yazdanbakhsh Ton Mahmood Somayeh Kimia Hosseini Sammakbashi Frl. Ghahraei Merila Zarei Tonschnitt Reza Narimizadeh Mischung Mohammad Reza Delpak Szenenbild, Ausstattung Keyvan Moghadam Kostüm Keyvan Moghadam Sareh Bayat Maske Mehrdad Mirkiani Produzent Asghar Farhadi Ausführender NADER AND SIMIN, A SEPARATION Produzent Negar Eskandarfar Simin möchte mit ihrem Ehemann Nader und ihrer Tochter Termeh den Iran verlassen. Alle dafür notwendigen Schritte hat sie unternommen; alle ent- sprechenden Vereinbarungen wurden getroffen. Doch dann meldet ihr Mann Bedenken an: Er möchte seinen an Alzheimer erkrankten Vater nicht unbetreut zurücklassen – Nader sagt die Reise ab. Simin reicht daraufhin beim Familiengericht die Scheidung ein. Als ihre Klage abgewiesen wird, zieht sie aus der ehelichen Wohnung aus und kehrt zu ihren Eltern zurück. Die kleine Termeh entscheidet sich dafür, beim Vater zu bleiben, hofft aber sehr darauf, dass die Mutter bald wieder nach Hause kommt. Für Nader ist es nicht einfach, mit den veränderten Lebensverhältnissen zurechtzukommen – schon allein aus zeitlichen Gründen. Für die Betreu - ung seines kranken Vaters engagiert er darum eine junge Frau. Razieh ist schwan ger und übernimmt diesen Job, ohne ihren Ehemann davon in Kennt nis zu setzen. -
Habib Majidi, SMPSP © Design : Laurent Pons / Troïka CREDITS
© photos : Habib Majidi, SMPSP © Design : Laurent Pons / TROÏKA DESIGN LAURENT PONS/ TROÏKA DESIGN LAURENT PONS/ PSP M S ABIB MAJIDI, ABIB MAJIDI, H CREDITS NON CONTRACTUAL - PHOTO MEMENTO FILMS PResents official selection cannes festival SHAHAB TARANEH HOssEINI THE ALIDOOSTI SALESMAN A FILM BY ASGHAR FARHADI 125 min - 1.85 - 5.1 - Iran / France download presskit and stills on www.memento-films.com World Sales & Festivals press Vanessa Jerrom t : 06 14 83 88 82 t : +33 1 53 34 90 20 Claire Vorger [email protected] t : 06 20 10 40 56 [email protected] [email protected] http://international.memento-films.com/ t : + 33 1 42 97 42 47 SYNOPSIS Their old flat being damaged, Emad and Rana, a young couple living in Tehran, is forced to move into a new apartment. An incident linked to the previous tenant will dramatically change the couple's life. INTERVIEW WITH ASGHAR FARHADI After making THE PAST in France and in Everything depends on the viewer’s own French, why did you go back to Tehran particular preoccupations and mindset. If for THE SALESMAN? you see it as social commentary, you’ll re- When I finished THE PAST in France, I member those elements. Somebody else started to work on a story that takes place might see it as a moral tale, or from a totally in Spain. We picked the locations and different angle. What I can say is that once I wrote a complete script, without the again, this film deals with the complexity of dialogue. We discussed about the project human relations, especially within a family. -
Gefesselter Blick, Freies Urteil Asghar Farhadis Realismus – Eine Werksichtung
Jörn Glasenapp Gefesselter Blick, freies Urteil Asghar Farhadis Realismus – Eine Werksichtung I. Der Regisseur der gemäßigten Fremdheit Ob es Asghar Farhadi nicht zuletzt Donald Trump zu verdanken hat, dass er Ende Februar 2017 bei der 89. Oscarverleihung für sein Whodunit- Ehedrama The Salesman (Foruschande, 2016) den Oscar für den bes- ten fremdsprachigen Film erhielt? Wir wissen es nicht. Und doch wird man getrost annehmen dürfen, dass das grosso modo liberale, eher dem demokratischen Lager nahestehende Hollywood die Prämierung des ira- nischen Films als opportunes Zeichen betrachtete, um Stellung gegen die von der Trump-Administration einen Monat zuvor verabschiedete Exe- cutive Order 13769 zu beziehen, den sogenannten »Muslim ban«, der Bürgerinnen und Bürgern aus dem Iran und sechs weiteren mehrheitlich muslimischen Staaten 90 Tage, Flüchtlingen 120 Tage und Flüchtlingen aus Syrien dauerhaft die Einreise in die USA untersagte. Darüber, ob die US-Grenzbehörden Farhadi eine Einreise-Sondergenehmigung erteilt hätten, lässt sich ebenfalls nur spekulieren. Denn wenig überraschend ließ es sich der Regisseur nicht nehmen, die Verleihung zu boykottieren und sein Fernbleiben zum Signum des Protests gegen Trumps xenophobe und muslimfeindliche Politik zu machen, die er nicht zuletzt im folgen- den, die menschen- und völkerverbindende Kraft des Films beschwören- den Statement kritisierte, das er in der Oscarnacht verlesen ließ: »I’m sorry I’m not with you tonight. My absence is out of respect for the people of my country, and those of the other six nations who have been disrespected by the inhumane law that bans entry of immigrants to the U. S. Dividing the world into the ›us‹ and ›our enemies‹ categories creates fear – a deceitful justification for aggression and war. -
Selection of Iranian Films 2020
In the Name of God PUBLISHER Farabi Cinema Foundation No. 59, Sie Tir Ave., Tehran 11358, Iran Management: Tel: +98 21 66708545 / 66705454 Fax: +98 21 66720750 [email protected] International Affairs: Tel: +98 21 66747826 / 66736840 Fax: +98 21 66728758 [email protected] / [email protected] http://en.fcf.ir Editor in Chief: Raed Faridzadeh Teamwork by: Mahsa Fariba, Samareh Khodarahmi, Elnaz Khoshdel, Mona Saheb, Tandis Tabatabaei. Graphics, Layout & Print: Alireza Kiaei A SELECTION OF IRANIAN FILMS 2020 CONTENTS Films 6 General Information 126 Awards 136 Statistics 148 Films Film Title P.N Film Title P.N A BALLAD FOR THE WHITE COW 6 NO PLACE FOR ANGELS 64 ABADAN 1160 8 PLUNDER 66 AMPHIBIOUS 10 PUFF PUFF PASS 68 ATABAI 12 RELY ON THE WIND 70 BANDAR BAND 14 RESET 72 BECAME BLOOD 16 RIOT DAY 74 BONE MARROW 18 THE NIGHT 76 BORN OF THE EARTH 20 THE BLACK CAT 78 CARELESS CRIME 22 THE BLUE GIRL 80 CINEMA SHAHRE GHESEH 24 THE ENEMIES 82 CROWS 26 THE FOURTH ROUND 84 DAY ZERO 28 THE GOOD, THE BAD,THE INDECENT 2 86 DROWN 30 THE GREAT LEAP 88 DROWNING IN HOLY WATER 32 THE INHERITANCE 90 EAR RINGED FISH 34 THE LADY 92 EXCELLENCY 36 THE MARRIAGE PROJECT 94 EXODUS 38 THE RAIN FALLS WHERE IT WILL 96 FATHERS 40 THE REVERSED PATH 98 FILICIDE 42 THE SKIN 100 FORSAKEN HOMES 44 THE SLAUGHTERHOUSE 102 I’M HERE 46 THE STORY OF FORUGH’S GIRL 104 I’M SCARED 48 THE SUN 106 IT’S WINTER 50 THE UNDERCOVER 108 KEEP QUIET SNAIL 52 THE WASTELAND 110 KILLER SPIDER 54 TITI 112 LIFE AMONG WAR FLAGS 56 TOOMAN 114 LUNAR ECLIPSE 58 WALKING WITH THE WIND 116 NARROW RED LINE 60 WALNUT TREE 118 NO CHOICE 62 A BALLAD FOR THE WHITE COW (Ghasideye Gaveh Sefid) Directed by: Behtash Sanaeeha Synopsis: Written by: Behtash Sanaeeha, Maryam Mina’s husband has just been executed Moghadam, Mehrdad Kouroshnia for murder.