I Am a Member of the House of Cinema I Am Member of the REPORT House of Cinema

Total Page:16

File Type:pdf, Size:1020Kb

I Am a Member of the House of Cinema I Am Member of the REPORT House of Cinema No. 14 The House Of Cinema Newsletter Iranian Alliance of Motion Picture Guilds September 2010 Special Issue Reports on the 14th Iranian Inside Feast of Cinema 14th Iranian Feast of Cinema I am a member of the House of Cinema I am Member of the REPORT House of Cinema The 14th Festival of the Iranian Mohammad Reza Delpak and present the prize for best make-up. are not asking for economic help. Cinema was held at the auditorium Taraneh Alidousti stepped on the Laleh Eskandari said that she was We only want the government to re- of Milad Tower with the participa- stage to present the prize for best a make-up artist before she became move the obstacles created by regu- tion of prominent filmmakers and sound mix. Delpak talked about an actress, and Abdollah Eskandari lations dating to about 20 years ago film fans. Filmmakers speaking at Asghar Shahverdi the famous said he was glad he was presenting and are not suitable for the present the ceremony thanked the board of sound recorder who is now sick in the prize to one of his successful day conditions. Our film industry directors of the House of Cinema bed and paid tribute to the late film colleagues. is plagued by unhealthy economy and the festival secretary Farhad producer Freydoun Khoushaba- The prize was awarded to Soud- while we boast of our great civiliza- Towhidi for organizing the festi- fard. “Friendship among film mak- abeh Khoravi for the film “Day and tion. The outcome of such an eco- val and empha- nomic situation is sized the need that people engage for strengthening in immoral activi- the House of Cin- ties to earn their ema and the film living. I and my guilds. colleagues believe Masters of the that the only rem- ceremony were edy for the situ- Farhad Ayish and ation is to desist his wife Maedeh from supporting Tahmasbi, who lies. You will then were joined by see how easily the Mehran Rajabi veils of lies and and talked about fraud will be torn the filmmakers’ aside….. problems, includ- “Unfortunately ing lack of job se- this is all that has curity and the il- remained of the legal sale of CDs. letter which I plan to turn over to the At the start of the Museum of Cin- ceremony Housh- ema.” ang Golmakani, Then the Rastak editor-in-chief of musical ensemble the Film maga- performed pieces zine, accompa- of folk music from nied by Hamed different provinces Behdad stepped on the stage to ers is stronger in the festival than Night”. The winner was not present of the country. present the prize for best first film. rivalry,” he said. “I am confident at the ceremony and the film pro- Golmakani asked the directors of this attitude will last.” ducer Jamal Sadatian received the In continuation of the ceremony, the House of Cinema to fight the Alidousti asked the actors society prize. Parvin Safari and Jamshid Gorgin banal films nowadays appearing on and the board of managers of the stepped on the stage to present the public screens. He said: “The House of Cinema to invite to such Then Farhad Towhidi the festival the prize for best costume design. real Iranian cinema is quite differ- feasts even actors who are not secretary presented his report. Gorgin said that the national day of ent from what goes on the screens nominated for any prizes. The prize “Good evening ladies and gentle- cinema was an important occasion now. I would like to take this op- for best sound mix was awarded to men! and asked the participants to sup- portunity and ask people in the film Mohsen Roshan for the film “The “I am a writer. I write both film port Towhidi, Mir Baqeri and the industry to find ways of solving the Child and the Angel”. Roshan could scripts, stories and at times articles other festival organizers in their ef- problem. About 200 feature films attend the ceremony because of ill and travelogues. I am a very scru- fort to arrange the Festival of Cin- from the past few years have not disposition and his assistant re- pulous writer and I may be consid- ema. yet found the chance of going on ceived the prize. ered a perfectionist. But the other The prize for best costume design the screens. And to that should be side of the coin is that I am fright- was handed to Abdolhamid Qadi- added short and documentary films Nezamoddin Kiai and Naser Mam- ened. I am frightened of limiting rian for the film “Solomon’s King- that are integral parts of the cine- douh stepped on the stage to present my powers by the presentation of dom”. Qadirian thanked the jury ma. It is my urgent request that the the prize for best sound recording. facts. And that is how I feel now. I and said: “This prize means a lot to prestige of the Iranian be saved for The prize for best sound recording had to give you facts and statistics me. I feel like a student who is at it is a very serious threat.” was awarded to Mahmoud Sam- which are the best means of hiding the start of his career and I hope to Hamed Behdad said: “I am glad we makbashi for the film “When We the truth. So I won’t give you any progress to a stage which is deserv- are here to celebrate the achieve- Are All Asleep”. The ceremony con- facts or statistics. ing of the Iranian cinema.” ment of the cinema. I am confident tinued with the screening of a video “Maybe some of my friends expected Amir Esbati and Alireza Kham- filmmakers will find the correct clip on filmmakers who had passed me to present again this year a sa- she came forward and presented path although they face numerous away during the previous year. tirical piece. In fact I had prepared the prize for best artistic design to obstacles.” Then Babak Hamidian presented a satire, but then I changed my Abdolhamid Qadirian for the film The diploma of honor for best first the prize for best special effects to mind. Instead I will read you a let- “Solomon’s Kingdom”. Qadirian film was awarded to “Season of Mohsen Rouzbehani for the film ter. There is a very interesting story expressed regret for the insult to Monsoon Rains” director by Majid “The Fateful Night”. Rouzbehani related to the letter. Older people the Holy Quran and asked the ar- Barzagar. The film director was on thanked the organizers of the feast probably recall that the House of tistic community to reply the insult trip abroad and could not attend, for arranging such a ceremony and Cinema is stationed in a building in an artistic framework. and the prize was handed to the providing an opportunity for film- which formerly was used as a film film actor Navid Layeq who, on be- makers to get together for one night studio. It includes a screening hall Mohammad Sarir and Seddiq Tarif half of the director, thanked the jury during the year. and last year we decided to renovate stepped on the stage. As a repre- and all the people had collaborated The prize for best visual effects the hall. On a late afternoon when sentative of the composers society, on the film, including Manouchehr was awarded to Leo Lu for the film the repair workers had left I went to Sarir asked the film community to Shahsavari the producer. “Solomon’s Kingdom” and Masoud check the work progress. On a wall pay more attention to the financial Behnam and Jahangir Kowsari pre- I discovered a hole and behind that aspects of the composers’ work so The video clip introducing mem- sented the prize to a member of the I found a cardboard box and inside that talented artists can present bers of the jury of the film stills was film’s crew. the box I found a letter on the let- better works. He considered music screened and then Aziz Saati and Then a video clip on the cinema of terhead of an old film company. The as the blood in the body of the film. Morteza Razzaq Karimi stepped on the sacred defense was screened. letter dated to the year 1977 and it Mohammad Reza Aliqoli received the stage and presented the prize for was addressed to the then minister the prize for best musical score for best film still to Mehdi Delkhasteh Laleh Eskandari and Abdollah Es- of art and culture. The letter read: the film “Afternoon of the Tenth for the film “A True Report”. kandari stepped on the stage to “Your excellency the Minister! We Day”. Soroush Sehhat and Mohammd films, as well as the organizing com- the House of Cinema is of particu- Elly” and said: “I wish to thank all Reza Moyini presented the prize mittee and secretary of the festival. lar significance because the jurors the people who worked with me for best editing to Hideh Safiyari Razavian compared the various film do not represent any government on the film. I wish Golshifteh was for the film “About Elly”. Moyini guilds to the different ethnic groups official. We respect their decision here. I hope things will change and criticized the lack of attention to that live in the country, said: “The even if it does not accord with our she can return home soon. I hope the film workers’ job security and Iranian races unite when they face views.” Bahram Beizai and the other Ira- asked “Who are the people who act an enemy, and this goes also for the Baran Kowsari called Javaherian nian filmmakers can return home as her best performing part- and work here.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • NADER and Simin a Film by Asghar Farhadi a SEPARATION
    NADER AND SIMIN a film by Asghar Farhadi A SEPARATION NADER AND SIMIN A SEPARATION a film by Asghar Farhadi Iran / 2011 / 123 min / colour / 35mm 1:1.85 / persian WORLD SALES & FESTIVAL WITh ThE particIpation OF InTERnATIOnAL pRESS Memento Films International DreamLab Films Vanessa Jerrom: 9 cité Paradis Nasrine Médard de Chardon +336 14 83 88 82 75010 Paris – France 14, chemin des Chichourliers claire Vorger: Tel: +33 1 53 34 90 20 06110 Le Cannet – France +336 20 10 40 56 [email protected] Tel/Fax: +33 4 93 38 75 61 [email protected] www.memento-films.com [email protected] www.dreamlabfilms.com DIRECTOR’S PROFILE ASGHAR FARHADI Biography Filmography Asghar Farhadi was born in 1972 in Isfahan, Iran. Whilst at school he 2011 became interested in writing, drama and the cinema, took courses at Nader and Simin, A Separation the Iranian Young Cinema Society and started his career as a filmma- (Jodaeiye Nader az Simin) ker by making super 8mm and 16mm films. Competition – Berlin 2011 He graduated with a Master’s Degree in Film Direction from Tehran 2009 University in 1998. About Elly During his studies, he wrote and directed several student plays, wrote (Darbareye Elly) for the national radio and directed a number of TV series, including Silver Bear – Best Director – Berlinale 2009 episodes of Tale of a City. In 2001, Farhadi wrote the screenplay for Ebrahim Hatamikia’s box- 2006 Fireworks Wednesday office and critical success Low Heights. (Chahar shanbeh souri) His directorial debut was in 2003 with Dancing in the Dust.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Ficm Cat16 Todo-01
    Contenido Gala Mexicana.......................................................................................................125 estrenos mexicanos.............................................................................126 Homenaje a Consuelo Frank................................................................... 128 Homenaje a Julio Bracho............................................................................136 ............................................................................................................ introducción 4 México Imaginario............................................................................................ 154 ................................................................................................................. Presentación 5 Cine Sin Fronteras.............................................................................................. 165 ..................................................................................... ¡Bienvenidos a Morelia! 6 Programa de Diversidad Sexual...........................................................172 ..................................................... Mensaje de la Secretaría de Cultura 7 Canal 22 Presenta............................................................................................... 178 Mensaje del Instituto Mexicano de Cinematografía ������������9 14° Festival Internacional de Cine de Morelia.............................11 programas especiales........................................................................ 179
    [Show full text]
  • Iranian Cinema De-Classified (2)
    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.
    [Show full text]