DOCSLIB.ORG

Iranian Cinema De-Classified (2)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Arts Iranian Cinema De-classified (2) By Erfan Hashempour . This is part two of the re- Wave had already been in existence by art tors joined port on Iranian cinema and how it found its films of directors such as Farokh Ghafari and the wave. way to prominent international festivals and Fereydoun Rahnama, and movies produced Notably, introduced people like Kiarostami, Makhmal- by “Studio Golestan”. Iranian writer and pro- directors baf and Ghobadi to the world. In the first part, ducer, Ebrahim Golestan established his like Bahram we covered the early days of cinema in Iran own production company (Studio Golestan) Beyzaei, Ab- and emergence of Film Farsi. In this report we in late 1950s and produced short films and bas Kiarostami, will focus on Iranian new wave and post-revo- documentary movies for Iranian Oil Com- Parviz Kimi- lutionary cinema. pany. Soon after, he produced The House avi, Sohrab Sha- Is Black (Forough Farrokhzad – 1962) which hid-Sales and Iranian New Wave many believe to be one of the best Iranian Masoud Kimiai Much like many film makers around the world movies of all times. He also directed Brick played significant who were influenced by Italian neorealism and Mirror (1965) and The Ghost Valley›s roles in continua- (notably French film makers who established Treasure Mysteries (1974) which are critical- tion of Iranian New French New Wave), a number of Iranian di- ly acclaimed movies. Indisputably, Golestan Wave. rectors in search of a more meaningful and is one of most influential figures in creation dynamic cinema – in contrast with Film Farsi - of Iranian New Wave. Islamic Revolution began to produce culturally and intellectually American writer and critic Jonathan and Cinema enriched movies that later on set to be known Rosenbaum believes that studying Iranian After the victory of as Iranian New Wave cinema. Many believe New Wave without considering movies by Islamic revolution in on top of the influence from French and Ital- Studio Golestan and art films of 1960s is a 1979, the Islamist vic- ian cinema, socio-political changes of 1950s mistake that many western cinema histo- tors, who believed that and 60s in Iranian society was one of the main rians do, which leads to highly incomplete Iranian culture has to motivating points in establishment of this new view of the Iranian cinema and its history. become purely Islamic wave. He also believes that there are two new and clean from all western Many sources believe that it all started with waves in Iranian cinema. One started in late and non-Islamic elements, Dariush Mehrjui’s The Cow in 1969. The Cow 50s and continued to early 70s, and is very shutdown many theatres, was well received by intellectuals and film crit- much influenced by French New Wave; the as they believed cinema to ics of the time, due to its societal and philo- other one which started with The Cow and be an influence of western sophical view which challenged the social has continued till the day is relatively inde- culture and against the Sharia relationships in Iranian society. Film critic and pendent of cinema experience in west. To (Islamic Law). There were ru- writer Ahmad Talebinejad, believes that The avoid this division, it can be said that sty- mours that cinema industry Cow (1969), Qeysar (Masoud Kimiai – 1969) listically, early movies of Iranian New Wave will be banned entirely; how- and Tranquility in the Presence of Others (Nas- were more comparable with French and ever, the leader of revolution er Taghvai – 1973) are the three most impor- Italian movies than the ones produced later. – Ayatollah Khomeini – decided tant movies that initiated Iranian New Wave. Throughout 1970s a handful of mov- otherwise and let cinema stay However, Parviz Jahed – who has closely stud- ies with cultural and philosophical themes alive. Although before the revo- ied Iranian Cinema – believes that the New were produced and a number of new direc- lution he had constantly attacked 2 Persepolis September/ October 2009 cinema as “the direct cause of prostitution, cor- revolution succeeded or were banned from don, Berlinale and Venice. In recent years, a ruption and political dependence”, he decided working. However, a generation of young and new generation of filmmakers have come on to use this phenomena as a propaganda sys- determined filmmakers joined the New Wave the spotlight and are determined to carry on tem. Also, there is a rumour that he had seen and seized the attention of film critics. Well the new wave to further. Asghar Farhadi, Sami- and enjoyed The Cow, which made him known filmmakers such as Mohsen Makhmal- ra Makhmalbaf, Saman Saloor and Abdolreza believe that cinema could also bWhat- baf, Jafar Panahi, Abolfazl Jalili, Bahman Gho- Kahani are among these young directors who ever the cause was, cinema stayed badi and many others are among this genera- have been accomplished internationally. alive after the revolution. However, tion of Iranian filmmakers. From the previous the themes and contents – especially generation Abbas Kiarostami, Dariush Meh- Recommended Iranian Movies in popular movies–changed entirely rjui, Khosrow Sinai and Masoud Kimiai con- to suit the new Islamic codes im- tinued to work after the revolution and have Pre-revolutionary: posed by the government. In 1980s been successful in national and international - Brick and Mirror (Ebrahim Golestan – 1965) and during the Iran-Iraq war, many stage. - The Cow (Dariush Mehrjui – 1969) films with nationalist and war- The breakthrough for post-revolution Ira- - Qeysar (Masoud Kimiai – 1969) related themes were produced nian filmmakers began when numerous films - Still Life (Sohrab Shahid-Sales – 1974) by sponsorship of government- found their way to international festivals. - The Raven (Bahram Beyzaei – 1976) based film organizations. Pro- With Abbas Kiarostami winning Palme d›Or in duction of war films continued Cannes Festival for Taste of Cherry (1997) inter- Post-revolutionary: after the end of the war as the national recognition came along. Ever since, - The Bicyclist (Mohsen Makhmalbaf – 1987) society was still deeply influ- he has become the symbol of Iranian cinema. - Travellers (Bahram Beyzaei – 1992) enced by it. In recent years numerous Iranian movies have - Taste of Cherry (Abbas Kiarostami – 1997) After the war, cinema been presented on the international stage. - Turtles Can Fly (Bahman Ghobadi – 2004) grew stronger as the public Movies by Bahman Ghobadi, Jafar Panahi, and - About Elly (Asghar Farhadi – 2009) demand for it enormously Mohsen Makhmalbaf have been present in arose. However, govern- distinguished festivals such as Cannes, Lon- [email protected] ment-imposed censor- ship and lack of financial resources caused for low quality productions. In recent years, the demand for popular movies has extremely declined, which has brought film industry into recession. Post Revolution- ary New Wave Despite the socio- The 34th Toronto International Film Fes- Makhmalbaf, and “Bassidji” by Mehran political changes tival runs from September 10th to 19th, Tamadon. after the 1979 2009 in 23 screens in downtown area. Check out TIFF.NET for full screening revolution, Ira- More than 300 films from Canada and schedules and make sure you are not nian new wave all around the world are to be screened missing movies from your favourite dir- cinema contin- under 19 screening programs. ectors. ued its path The screenings include movies from There will also be free outdoor pro- yet stronger notable directors such as Guiseppe grams right beside Ryerson University than before. Tornatore, Werner Herzog, Atom Egoyan, in Dundas square including silent films, Many pre- Jane Campion, Pedro Almodovar and presentations, concerts, and public ap- revolution- many others. pearances by singers Niel Young, Joan ary film- TIFF will also screen movies by Iranian Baez, and DJ Champion, and American makers filmmakers: “Women Without Men” by directors George Romero and Jonathan fled the Shirin Neshat, “My Tehran for Sale” by Demme. coun- Granaz Moussavi, “Green Days” by Hana try as September/ October 2009 Persepolis 3 .
Recommended publications
  • Religious Studies 181B Political Islam and the Response of Iranian

    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.
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward

    Index to Volume 26 January to December 2016 Compiled by Patricia Coward

    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
  • Gefesselter Blick, Freies Urteil Asghar Farhadis Realismus – Eine Werksichtung

    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.
  • Preface: Iranian Masculinities

    Preface: Iranian Masculinities

    Preface: Iranian Masculinities Mostafa Abedinifard University of Toronto Sahar Allamezade-Jones Independent Scholar We are pleased to present the Spring 2018 issue of Iran Namag as a special issue, and the first collection of essays, on the topic of Iranian masculinities.1 Academic studies of Iranian men masculinities mainly gained ground during the past decade or so, especially outside Iran, 1The authors would like to thank Raewyn Connell for her invaluable comments on an earlier version of this introduction. Mostafa Abedinifard <[email protected]> holds a PhD in Comparative Literature (University of Alberta, 2015), and is currently a SSHRC Postdoctoral Fellow (2017-2019) in the Department of Near and Middle Eastern Civilizations at the University of Toronto, where he is completing a monograph on humor as a signifier for affect in modern Iranian history, culture and literature, with a focus on gender, sexuality, race, and ethnicity. Mostafa has articles published and forthcoming in peer-reviewed journals including British Journal of Middle Eastern Studies; Asian Cinema; HUMOR: International Journal of Humor Research; Social Semiotics; de genere: Journal of Literary, Postcolonial and Gender Studies; and Iran Nameh: A Quarterly of Iranian Studies. Sahar Allamezade-Jones <[email protected]> recently earned a doctorate in Comparative Literature from the University of Maryland. Her dissertation is entitled: “Men Writing Women: ‘The Woman Question’ and Male Discourse of Iranian Modernity.” Sahar researches Persianate and Islamicate societies’ literature, film, and culture with an interdisciplinary scope. Her research interests include comparative literature and critical theory, particularly gender and sexuality in (children’s) literature and the cinema of the Middle East and Iran.
  • Academy Invites 774 to Membership

    Academy Invites 774 to Membership

    MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam
  • An Analysis of Iranian War Film Genres )1980 2013( with Niklas Luhmann’S Social Systems Theory

    An Analysis of Iranian War Film Genres )1980 2013( with Niklas Luhmann’S Social Systems Theory

    Genre Shift and Identity Maintenance – An Analysis of Iranian War Film Genres (1980_2013) with Niklas Luhmann’s Social Systems Theory Golnaz Sarkar Farshi* Received: 2018/01/15 Accepted: 2018/08/11 Abstract A close observation of Iran-Iraq war films in the Iranian society reveals that their genres have shifted in the course of the society’s evolution. This questions the category-based principles of genre we have known so far in literature concerning film theory and necessitates a new conceptualization of genre, which can be realized with the aid of Niklas Luhmann’s social systems theory. This theory abandons categorization in favor of functional differentiation and helps us observe Iranian war movies in their societal context. By taking a close look at the function of film in the society as one of the mass media, and through locating the concepts of memory, reality, identity and genre in Luhmann’s theory, I shall find a pattern in the mentioned genre shift which is in turn punctuated by the Iranian society’s different stages of evolution. To do so, I shall rely on a qualitative, analytical and critical method. Keywords: film genre, identity, Iran-Iraq war, Niklas Luhmann, social systems theory, war film *. PhD student of Media Philosophy, Bauhaus-University Weimar. Email: [email protected]. .................................................................................Genre Shift and Identity Maintenance – An Analysis of Introduction within scientific jargon. The outcome of these The 8-year war between Iran and Iraq endeavors was to attribute a film’s genre was, like any war in any society, post factum to its formal qualities (western), its themes widely reflected on in the Iranian mass media: and motifs (war film, apocalyptic film), its from the TV documentary series Ravāyat-e main characters (doctor films, detective Fath1 to epics which illustrated the prowess of films) among other qualities.
  • The Armenian Community in Iran: Issues and Emigration’ (2019) 3 Global Campus Human Rights Journal 127-140

    The Armenian Community in Iran: Issues and Emigration’ (2019) 3 Global Campus Human Rights Journal 127-140

    G Iskandaryan ‘The Armenian community in Iran: Issues and emigration’ (2019) 3 Global Campus Human Rights Journal 127-140 https://doi.org/20.500.11825/991 The Armenian community in Iran: Issues and emigration Gohar Iskandaryan* Abstract: The Armenian-Iranian community has a history of around 400 years. According to official statistics, there were approximately 300 000 Armenians in Iran in 1960-1970. After the Islamic revolution in Iran in 1978-1979, a considerable number of Armenians fled from Iran. In addition, other reasons fuelling the emigration were the 1980-1988 Iran-Iraq war, the international sanctions against Iran and the harsh social-economic conditions in the country. Many Armenians remaining in Iran mostly live in the three communities of Tabriz, Tehran and Isfahan. Armenians are recognised by the state as a religious minority. The Constitution of Iran gives rights of domestic, cultural and religious autonomy to Armenians. At the same time, Islamic laws dictate certain limitations, notably in the spheres of equal employment opportunities, the court system and justice. Armenians in Iran adopt several approaches for retaining their Armenian identities, including the non-acceptance of mixed marriages. After the Islamic revolution, the Hebrew Immigrant Aid Society started to organise and support the emigration of Jews and other non-Muslim groups, thus propelling the next wave of the Iranian-Armenians’ exodus. Key words: Iran; Armenian community; Hebrew Immigrant Aid Society; Christians; religious minorities; emigration; rights; Islamic revolution 1Introduction Armenia, situated at the crossroads between the east and the west, has always been in the midst of conflicts. For centuries, Armenians tried to stay away from clashes and took refuge in more secure places.
  • NETFLIX – CATALOGO USA 20 Dicembre 2015 1. 009-1: the End Of

    NETFLIX – CATALOGO USA 20 Dicembre 2015 1. 009-1: the End Of

    NETFLIX – CATALOGO USA 20 dicembre 2015 1. 009-1: The End of the Beginning (2013) , 85 imdb 2. 1,000 Times Good Night (2013) , 117 imdb 3. 1000 to 1: The Cory Weissman Story (2014) , 98 imdbAvailable in HD on your TV 4. 1001 Grams (2014) , 90 imdb 5. 100 Bloody Acres (2012) , 1hr 30m imdbAvailable in HD on your TV 6. 10.0 Earthquake (2014) , 87 imdb 7. 100 Ghost Street: Richard Speck (2012) , 1hr 23m imdbAvailable in HD on your TV 8. 100, The - Season 1 (2014) 4.3, 1 Season imdbClosed Captions: [ Available in HD on your TV 9. 100, The - Season 2 (2014) , 41 imdbAvailable in HD on your TV 10. 101 Dalmatians (1996) 3.6, 1hr 42m imdbClosed Captions: [ 11. 10 Questions for the Dalai Lama (2006) 3.9, 1hr 27m imdbClosed Captions: [ 12. 10 Rules for Sleeping Around (2013) , 1hr 34m imdbAvailable in HD on your TV 13. 11 Blocks (2015) , 78 imdb 14. 12/12/12 (2012) 2.4, 1hr 25m imdbClosed Captions: [ Available in HD on your TV 15. 12 Dates of Christmas (2011) 3.8, 1hr 26m imdbClosed Captions: [ Available in HD on your TV 16. 12 Horas 2 Minutos (2012) , 70 imdb 17. 12 Segundos (2013) , 85 imdb 18. 13 Assassins (2010) , 2hr 5m imdbAvailable in HD on your TV 19. 13 Going on 30 (2004) 3.5, 1hr 37m imdbClosed Captions: [ Available in HD on your TV 20. 13 Sins (2014) 3.6, 1hr 32m imdbClosed Captions: [ Available in HD on your TV 21. 14 Blades (2010) , 113 imdbAvailable in HD on your TV 22.
  • Final Issue Volume 15 - Number 4 June – July 2019 £8 (Special Issue)

    Final Issue Volume 15 - Number 4 June – July 2019 £8 (Special Issue)

    Volume 15 - Number 4 June – July 2019 £8 (special issue) Final Issue Volume 15 - Number 4 June – July 2019 £8 (special issue) Final Issue Monir Farmanfarmaian, Untitled (Octagon), 2016. Mirror and reverse glass painting on About the London Middle East Institute (LMEI) plexiglass, 32 cm in diameter. Courtesy of Monir Shahroudy Farmanfarmaian family and The The London Middle East Institute (LMEI) draws upon the resources of London and SOAS to provide Third Line, Dubai teaching, training, research, publication, consultancy, outreach and other services related to the Middle East. It serves as a neutral forum for Middle East studies broadly defined and helps to create links between Volume 15 – Number 4 individuals and institutions with academic, commercial, diplomatic, media or other specialisations. June–July 2019 With its own professional staff of Middle East experts, the LMEI is further strengthened by its academic membership – the largest concentration of Middle East expertise in any institution in Europe. The LMEI also Editorial Board has access to the SOAS Library, which houses over 150,000 volumes dealing with all aspects of the Middle East. LMEI’s Advisory Council is the driving force behind the Institute’s fundraising programme, for which Dr Orkideh Behrouzan SOAS it takes primary responsibility. It seeks support for the LMEI generally and for specific components of its Dr Hadi Enayat programme of activities. AKU LMEI is a Registered Charity in the UK wholly owned by SOAS, University of London (Charity Ms Narguess Farzad SOAS Registration Number: 1103017). Mrs Nevsal Hughes Association of European Journalists Professor George Joffé Mission Statement: Cambridge University Dr Ceyda Karamursel SOAS The aim of the LMEI, through education and research, is to promote knowledge of all aspects of the Middle Mrs Margaret Obank East including its complexities, problems, achievements and assets, both among the general public and with Banipal Publishing those who have a special interest in the region.
  • The Interpreter of Desires Iranian Cinema and Psychoanalysis

    The Interpreter of Desires Iranian Cinema and Psychoanalysis

    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Interpreter of Desires Iranian Cinema and Psychoanalysis Farshid Kazemi A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Islamic and Middle Eastern Studies University of Edinburgh © Farshid Kazemi, 2018 DECLARATION I hereby certify that the work contained herein has been composed by me in its entirety, and represents my own scholarly work. Besides Chapter 2, which has been published in the peer-reviewed journal Camera Obscura: Feminism, Culture, and Media Studies, no part of this thesis has been previously submitted for any other degree or professional qualification. Signed: Farshid Kazemi ii Abstract The goal of this thesis is the study of the structure of desire and sexuality in post- revolutionary Iranian cinema, through the prism of Lacanian psychoanalytic film theory.
  • Movie Museum JUNE 2014 COMING ATTRACTIONS

    Movie Museum JUNE 2014 COMING ATTRACTIONS

    Movie Museum JUNE 2014 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY 2 Hawaii Premieres! 2 Hawaii Premieres! 2 Hawaii Premieres! 2 Hawaii Premieres! 2 Hawaii Premieres! RUN & JUMP WHAT THE DAY OWES LONG DISTANCE LOVE RUN & JUMP THE ALBANIAN (2013-Ireland/Germany) THE NIGHT (2009-Sweden) (2013-Ireland/Germany) (2010-Germany/Albania) in English, widescreen (2012-France) in Uzbek w/Eng subtitles, ws in English, widescreen Albanian/German w/sub, ws with Will Forte, Maxine Peake French w/Eng subtitles, ws Fascinating doc about a young with Will Forte, Maxine Peake with Nik Xhelilaj, Ivan 12:00, 3:30 & 7:00pm with Mohamed Fellag. couple in Kyrgyzstan. 12:00, 4:00 & 8:00pm Shvedoff, Amos Zaharia. ---------------------------------- 12:00 & 4:45pm 12:00 & 7:00pm ------------------------------------ 12:00 & 6:00pm LONG DISTANCE LOVE ---------------------------------- ---------------------------------- PARTITION ---------------------------------- (2009-Sweden) THE ALBANIAN WHAT THE DAY OWES (2007-Canada/So Africa/UK) SIMON & MALOU in Uzbek w/Eng subtitles, ws (2010-Germany/Albania) THE NIGHT in English, in widescreen aka No Time for Love In this fascinating doc, a young Albanian/German w/sub, ws (2012-France) Jimi Mistry, Kristin Kreuk, (2009-Denmark) Kyrgyz man leaves his preg- with Nik Xhelilaj, Ivan French w/Eng subtitles, ws Neve Campbell, Danish w/Eng subtitles, ws nant bride to work in Moscow. Shvedoff, Amos Zaharia. with Mohamed Fellag. Irfan Khan, Madhur Jaffrey. with Tuva Novotny. 2:00, 5:30 & 9:00pm 1:30, 4:15 & 8:30pm 2:00 & 6:00pm 2:00, 4:00 & 8:00pm 5 2:45, 7:30 & 9:30pm 6 7 8 9 2 Hawaii Premieres! DEPARTURES Flag Day Father's Day ABOUT ELLY KUMA aka Okuribito NON-STOP Hawaii Premiere! aka Darbareye Elly (2012-Austria) (2014-UK/France/US) (2008-Japan) 25 CARAT (2009-Iran/France) in widescreen German/Turkish, subtitled, ws Japanese w/Eng subtitles ws (2008-Spain) Persian/German w/sub ws Directed by Umut Dag.
  • Sadegh-Vaziri Dissertation

    Sadegh-Vaziri Dissertation

    IRANIAN DOCUMENTARY FILM CULTURE: CINEMA, SOCIETY, AND POWER 1997-2014 ____________________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ___________________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ____________________________________________________________________________________ by Persheng Sadegh-Vaziri December 2015 Examining Committee Members: Patrick M. Murphy, Advisory Chair, Media and Communication Roderick Coover, Film Media Arts Naomi Schiller, Anthropology & Archaeology, Brooklyn College Hamid Naficy, Radio-TV-Film, Northwestern University Nora M. Alter, External Member, Film Media Arts © Copyright 2015 by Persheng Sadegh-Vaziri All Rights Reserved ! ii! ABSTRACT Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed them. In this dissertation I explore how they engaged with different centers of power in order to create films that are relevant