Dariush Mehrjui Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

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Dariush Mehrjui ç”µå½± ä¸²è¡Œ (å¤§å…¨) Beloved Sky https://zh.listvote.com/lists/film/movies/beloved-sky-5960435/actors Rumi's Kimia https://zh.listvote.com/lists/film/movies/rumi%27s-kimia-7379274/actors Ghosts https://zh.listvote.com/lists/film/movies/ghosts-16049976/actors The Mix (Iranian https://zh.listvote.com/lists/film/movies/the-mix-%28iranian-film%29-16051438/actors film) Leila https://zh.listvote.com/lists/film/movies/leila-2507766/actors Mum's Guest https://zh.listvote.com/lists/film/movies/mum%27s-guest-3029995/actors Ejareh-Nesheenha https://zh.listvote.com/lists/film/movies/ejareh-nesheenha-3049544/actors Hamoun https://zh.listvote.com/lists/film/movies/hamoun-3126570/actors Pari https://zh.listvote.com/lists/film/movies/pari-3365065/actors Santouri https://zh.listvote.com/lists/film/movies/santouri-3473002/actors Sara https://zh.listvote.com/lists/film/movies/sara-3473249/actors The Pear Tree https://zh.listvote.com/lists/film/movies/the-pear-tree-4150897/actors Tales of an Island https://zh.listvote.com/lists/film/movies/tales-of-an-island-5723375/actors To Stay Alive https://zh.listvote.com/lists/film/movies/to-stay-alive-5796798/actors Good to Be Back https://zh.listvote.com/lists/film/movies/good-to-be-back-5890297/actors Persian Carpet https://zh.listvote.com/lists/film/movies/persian-carpet-5937645/actors Orange Suit https://zh.listvote.com/lists/film/movies/orange-suit-5943087/actors Mr. Naive https://zh.listvote.com/lists/film/movies/mr.-naive-6555390/actors The Cycle https://zh.listvote.com/lists/film/movies/the-cycle-7728545/actors å¥¶ç‰› https://zh.listvote.com/lists/film/movies/%E5%A5%B6%E7%89%9B-1214152/actors.

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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
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Staging Iranian Modernity: Authors in Search of New Forms
Copyright by Maryam Shariati 2016 The Dissertation Committee for Maryam Shariati certifies that this is the approved version of the following dissertation: Staging Iranian Modernity: Authors in Search of New Forms Committee: Elizabeth M. Richmond-Garza, Supervisor Mohammad R. Ghanoonparvar, Co-Supervisor Lynn R. Wilkinson Katherine M. Arens Sofian Merabet Staging Iranian Modernity: Authors in Search of New Forms by Maryam Shariati, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY The University of Texas at Austin May 2016 Dedication For my soulmate, Ehsan. For everything. Acknowledgements I wish to gratefully acknowledge the guidance and support I have received, intellectual and otherwise, throughout the process of composing and revising this dissertation. My first debt of gratitude is to my dissertation committee members and in particular my indefatigable supervisor, Professor Elizabeth Richmond-Garza, for her unflinching encouragement and infinite forbearance throughout my studies at The University of Texas at Austin. She has been an erudite mentor, critical commentator, and encouraging guide and I thank her for sharing her wealth of knowledge, invaluable insight and expertise in this project. To my co-supervisor, Professor Mohammad R. Ghanoonparvar, I owe immeasurable debt of gratitude for his intellectual guidance and strong commitment to my research—from the start to finish. His boundless enthusiasm, great knowledge, and unfathomable erudition opened an avenue to many stimulating discussions and enabled me to have a clear direction of my project. Another substantial acknowledgement must go to Professor Lynn Wilkinson for her instrumental role at every stage of my research: conceptualizing, researching, and writing.
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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.
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Pessuto Kelen M.Pdf
ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES KELEN PESSUTO O ‘ESPELHO MÁGICO’ DO CINEMA IRANIANO: UMA ANÁLISE DAS PERFORMANCES DOS “NÃO” ATORES NOS FILMES DE ARTE Dissertação apresentada ao Instituto de Artes, da Universidade Estadual de Campinas, para obtenção do Título de Mestre em Artes. Área de concentração: Artes Cênicas. Orientadora: Profª. Drª. Francirosy Campos Barbosa Ferreira CAMPINAS 2011 iii . . . . . . .. iv v vi Dedico essa dissertação à memória dos meus pais, Agueda e José Pessuto, que são os espelhos da minha vida. À minha sobrinha Gabriela, por existir e fazer a minha vida mais feliz. À minha orientadora e amiga Francirosy C. B. Ferreira, por tanta afeição e apoio. vii viii AGRADECIMENTOS À Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), pelo financiamento desta pesquisa, que permitiu minha dedicação exclusiva e o acesso ao material. Agradeço também aos pareceristas, que acreditaram no projeto. À minha mãe Agueda Pessuto, que tanto incentivou minha carreira, que fez sacrifícios enormes para que eu me formasse, tanto no teatro, quanto na faculdade. Sempre expressou sua admiração e carinho. Muito amiga e companheira, que mesmo não estando presente entre nós, é o guia da minha vida. Espero ser um por cento do que ela foi. Nunca me esqueço que horas antes dela morrer, pediu para eu ler menos e dar mais atenção para ela, não cumpri o que pediu... No dia seguinte à sua morte ocorreu o exame para ingressar no mestrado. Passar foi uma questão de honra para mim. Eis que termino essa pesquisa e lhe agradeço, pois se não fosse esse exemplo de mulher batalhadora no qual me inspiro, não teria conseguido.
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Cinema of Immanence: Mystical Philosophy in Experimental Media
CINEMA OF IMMANENCE: MYSTICAL PHILOSOPHY IN EXPERIMENTAL MEDIA By Mansoor Behnam A thesis submitted to the Cultural Studies Program In conformity with the requirements for The degree of Doctor of Philosophy. Queen’s University Kingston, Ontario, Canada (May 2015) Copyright © Mansoor Behnam, 2015 Abstract This research-creation discovers the connection between what Gilles Deleuze and Felix Guattari termed as the Univocity of Being, and the Sufi and pantheistic concept of Unity of Being (wahdat al-wujud) founded by the Islamic philosopher/mystic Ibn al-‘Arabī(A.H. 560- 638/A.D. 1165-1240). I use the decolonizing historiography of the concept of univocity of being carried out by the scholar of Media Art, and Islamic Thoughts Laura U. Marks. According to Marks’ historiography, it was the Persian Muslim Polymath Abu ‘Ali al-Husayn ibn Sînâ (980-1037) who first initiated the concept of haecceity (thisness)--the basis of the univocity of being. The thesis examines transformative experimental cinema and video art from a mystical philosophical perspective (Sufism), and by defying binaries of East/West, it moves beyond naïve cosmopolitanism, to nuanced understanding of themes such as presence, proximity, self, transcendence, immanence, and becoming, in media arts. The thesis tackles the problem of Islamic aniconism, nonrepresentability, and inexpressibility of the ineffable; as it is reflected in the mystical/paradoxical concept of the mystical Third Script (or the Unreadable Script) suggested by Shams-i-Tabrīzī (1185- 1248), the spiritual master of Mawlana Jalal ad-Dīn Muhhammad Rūmī (1207-1273). I argue that the Third Script provides a platform for the investigation of the implications of the language, silence, unsayable, and non-representation.
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The Honorable Mentions
The Honorable mentions: 1. The report by Abbas Kiarostami (1977) 2. Bashu, the Little Stranger by Bahram Beizai (1989) 3. Mother by Ali Hatami (1991) 4. Travellers by Bahram Beyzai (1991) 5. Nargess by Rakhshan Bani-E'temad (1992) 6. Sara by Dariush Mehrjui (1992) 7. Through the Olive Trees by Abbas Kiarostami (1994) 8. Khaharan-e Gharib by Kiumars Pourahmad (1995) 9. The White Balloon by Jafar Panahi (1996) 10. Two Women by Tahmineh Milani (1999) 11. Hemlock by Behruz Afkhami (2000) 12. Protest by Masud Kimiai (2000) 13. The Hidden Half by Tahmineh Milani (2001) 14. Kaghaz-e bikhat by Naser Taghvai (2002) 15. A House Built on Water by Bahman Farmanara (2003) 16. I'm Taraneh, 15 by Rasul Sadr Ameli (2003) 17. The Command by Masoud Kimiai (2005) 18. So Close, So Far by Reza Mirkarimi (2005) 19. Yek boos-e koochooloo by Bahman Farmanara (2005) 20. Offside by Jafar Panahi (2006) 21. Mainline by Rakhshan Bani-E'temad, Mohsen Abdolvahab (2006) 22. The Fish Fall in Love by Ali Rafie (2006) 23. Zero Degree Turn by Hassan Fathi (2007) 24. The known Land, Bahman Farmanara (2007) 25. Shirin by Abbas Kiarostami (2008) 26. Canaan by Mani Haghighi (2008) 27. Vaghti hame khabim by Bahram Beyzai (2009) 28. There Are Things You Don't Know by F. Saheb Zamani (2009) 29. A Cube of Sugar by Reza Mirkarimi (2011) 30. Saadat Abad by Maziar Miri (2011) 31. The Last Step by Ali Mosaffa (2012) 32. The Private Life of Mr. & Mrs. M by Rouhollah Hejazi (2012) 33.
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CENTER for IRANIAN STUDIES NEWSLETTER Vol
CENTER FOR IRANIAN STUDIES NEWSLETTER Vol. 16, No. 1 SIPA-Columbia University-New York Spring 2004 ENCYCLOPÆDIA IRANICA SHIRIN EBADI Fascicles 3 and 4 of Volume XII Published; Fascicle 5 in Press AT COLUMBIA UNIVERSITY The third and fourth fascicles plies to studies of significant his- of Volume XII of the Encyclopædia torians or their writings, i.e., the Iranica were published in the Fall identification and interpretation of of 2003 and Spring of 2004, respec- major historical texts, especially tively. They feature 83 entries on vari- with an eye to the cultural forces and ous aspects of Iranian culture and his- other factors which shape the assump- tory, including five series of articles on tions and methods of such works and specific subjects: fourteen major entries their authors. Beyond that, it encom- on Persian historiography, ten entries passes analysis of the nature and pur- under the rubric of The Histories of pose of historical literature and its lit- Herodotus’ account of ancient Persia, erary techniques. At another level, it re- Columbia University’s Center for five entries on Ernst Herzfeld, a great fers to the so-called “philosophy of his- Iranian Studies and The Institute of Hu- archeologist and historian of the ancient tory,” i.e., theoretical and epistemologi- man Rights at the Law School are plan- Iranian past, two entries on Persian col- cal discussions of historical writing as ning a reception in honor of Ms. Shirin lections at Hermitage Museum of St. an intellectual activity as well as grand Ebadi, the recipient of the 2004 Nobel Petersburg, and three entries on homo- schemes of the meaning of history as a Peace Prize.
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Archival Re-Appropriation and Discontents of Self-Cine-Identification in Iranian Cinema Hossein (Hemen) Heidari
Special – peer-reviewed Cinergie – Il cinema e le altre arti. N.17 (2020) Edited by Hanin Hannouch ISSN 2280-9481 https://doi.org/10.6092/issn.2280-9481/10536 https://cinergie.unibo.it/ Archival Re-appropriation and Discontents of Self-cine-identification in Iranian Cinema Hossein (Hemen) Heidari Submitted: February 24, 2020 – Published: July 30, 2020 Abstract The indexical interpretation of the archival footages and historical theme of Mohsen Makhmalbaf’s Once Upon a Time, Cinema (Iran 1991) has inspired many studies to read the movie as a semi-historical homage to (Iranian) cinema from 1900. However, this article questions the archival footages and cinematic strate- gies of the movie not as indexes/evidences of/from the past rather as organs of a crisis in remembering and forgetting in relation to the official power and the filmmaker’s career. In order to give a character tothis crisis, this paper employs the notion of self-image or self-identification of the artist and the official power through cinema and archival images. This cine-memory crisis is traced in three overlapping forms of the artistic memory, the memory of power (both the post-revolution 1979 and the Qajar in 1900), and the mem- ory of the religion (Islam). This article argues that beyond the represented political motifs and historical indexicality in the movie, the archival footages and history of cinema underline and perpetuate struggles in self-imaging/imagining with the medium of cinema in Iran since 1900. This investigation helps us un- derstand how manipulating archival footages is not an artistic narrative or homage to the past but rather a product of hardships of cinematic re-appropriation or a re-personification of ‘self’ (artistic or institutional) in the present.
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Mein Besonderes Interesse Und Der Iranische Kinderfilm
Der Welt der Kinder gilt mein besonderes Interesse und der iranische Kinderfilm SONDERDRUCK DER JugendKinderf-Im I Korrespondenz MÜNCHEN "Die Farbe des Paradieses" "Kinder des Himmels" "Der Welt der Kinder gilt mein besonderes Interesse" MAJID MAJIDI und der iranische Kinderfilm Redaktion: Hans Strobel Textbeiträge: Joachim Giera Frauke Hanck Gudrun Lukasz-Aden Robert Richter Christel Strobel Hans Strobel Titel: Günter Mattei Fotos: Kinder-Film-Archiv München Druck: Meox München Herausgeber: Kinder- und Jugendfilmzentrum in Deutschland Kinderkino München e. V. / Kinder- und Jugendfilm Korrespondenz Diese Publikation wurde finanziert aus Mitteln des Bundesministeriums für Familie, Senioren, Frauen und Jugend Copyright: K...JF/KJK, Remscheid/München 2000 ISSN 0175-0933 Inhalt Zur Person Majid Majidi 3 Der iranische Kinderfilm im Wandel der Zeit Das lange Suchen nach dem Schlüssel 6 Vorstellung der Spielfilme von Majid Majidi BADUK ~ 13 DIE FARBE DES PARADIESES 14 KINDER DES HIMMELS 16 '. DAS LETZTE DORF 18 DER VATER 18 Iranische Filme im Verleih 21 Zahlen / Fakten / Adressen 23 Anlass dieser Publikation ist das Sonderprogramm des 18. Kinderfilm fest - einer Sektion des Filmfest München. In einem Regie-Porträt wird der iranische Regisseur und Autor Majid Majidi vorgestellt. Seine Filme - faszinierend und bewegend - lassen uns teilhaben an einer anderen und für uns fremden Kultur. Die Filmgeschichten erzählen von Kindhei ten, die nicht nur heiter und behütet sind. Majid Majidi nimmt die Kin der ernst, weil er ihnen spannende wie schwierige Lebensgeschichten zutraut. Seine Arbeiten sind Filme über Kinder und zugleich Filme für Kinder und jeden interessierten Erwachsenen. Die Publikation gibt Auskunft zur Person und die Spielfilme von Majid Majidi, enthält zudem einen Beitrag über die Geschichte des iranischen Kinderfilms und informiert über Institutionen des iranischen Films.
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Fictional Uncertainty in Modern Persian Literature: Polyphony, Becoming, and Ambiguity in Shahriar Mandanipour's Work
Fictional Uncertainty in Modern Persian Literature: Polyphony, Becoming, and Ambiguity in Shahriar Mandanipour's Work Item Type text; Electronic Dissertation Authors Sarvestani, Mehrak Kamali Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 02:11:49 Link to Item http://hdl.handle.net/10150/596122 FICTIONAL UNCERTAINTY IN MODERN PERSIAN LITERATURE: POLYPHONY, BECOMING, AND AMBIGUITY IN SHAHRIAR MANDANIPOUR’S WORK by Mehrak Kamali Sarvestani __________________________ Copyright © Mehrak Kamali Sarvestani 2016 A Dissertation Submitted to the Faculty of the SCHOOL OF MIDDLE EASTERN AND NORTH AFRICAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2016 Kamali 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Mehrak Kamali Sarvestani, titled Fictional Uncertainty in Modern Persian Literature: Polyphony, Becoming, and Ambiguity in Shahriar Mandanipour’s Work and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ______________________________________________________________Date: 05/07/2015 Kamran Talattof ______________________________________________________________Date: 05/07/2015 Ann H. Betteridge ______________________________________________________________Date: 05/07/2015 Leila Hudson ______________________________________________________________Date: 05/07/2015 Yaseen Noorani ______________________________________________________________Date: Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College.
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Press Kit (PDF)
Synopsis Today Iranian cinema is one of the most highly regarded national cinemas in the world, regularly winning festival awards and critical acclaim for its films. IRAN: A CINEMATOGRAPHIC REVOLUTION traces the development of this film industry, which has always been closely intertwined with the country’s tumultuous political history. IRAN: A CINEMATOGRAPHIC REVOLUTION chronicles how Iranian films reflected contemporaneous society and often presaged social change. It shows how mainstream commercial cinema served as a propaganda tool, recounts the sporadic efforts of some filmmakers to reveal grimmer social realties, and the struggles against censorship and traditional cinematic formulas by such pioneers as Bahram Beyzai, Sohrab Shahid Saless and Parviz Kimiavi and pre- and post-Islamic revolutionary ‘new wave’ filmmakers such as Amir Naderi, Rakhshan Bani-Etemad, Dariush Mehrjui, Mohsen Makhmalbaf, Jafar Panahi, Bahman Ghobadi and Abbas Kiarostami. The documentary recounts this history through archival footage, excerpts from representative and landmark Iranian films, and interviews with Iranian filmmakers, film critics, film historians, and government and film industry executives. In the process, IRAN: A CINEMATOGRAPHIC REVOLUTION reveals the changing social functions of Iranian cinema and the artistic struggle of its filmmakers, showing how today its leading filmmakers have become Iran’s new ambassadors to the world. Review Excerpts and Festivals “Persian culture and the current focus on Iranian politics makes IRAN a must-see for anyone
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A Colourful Presence
A Colourful Presence A Colourful Presence: The Evolution of Women's Representation in Iranian Cinema By Maryam Ghorbankarimi A Colourful Presence: The Evolution of Women's Representation in Iranian Cinema By Maryam Ghorbankarimi This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Maryam Ghorbankarimi All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8272-0 ISBN (13): 978-1-4438-8272-9 In honor of my loving parents … TABLE OF CONTENTS List of Figures............................................................................................. ix Acknowledgements ................................................................................... xii A Note on Transliteration and Style ......................................................... xiv Introduction ................................................................................................. 1 Overview of the Project The 1960s: Iranian New Wave Iranian Independent Cinema of the 1960s Cinema after the Revolution Conclusion Chapter One ............................................................................................... 24 Captive Bodies
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