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Iranian Women's Quest for Self-Liberation Through
IRANIAN WOMEN’S QUEST FOR SELF-LIBERATION THROUGH THE INTERNET AND SOCIAL MEDIA: AN EMANCIPATORY PEDAGOGY TANNAZ ZARGARIAN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO December 2019 © [Tannaz Zargarian, 2019] i Abstract This dissertation examines the discourse of body autonomy among Iranian women. It approaches the discourse of body autonomy by deconstructing veiling, public mobility, and sexuality, while considering the impact of society, history, religion, and culture. Although there are many important scholarly works on Iranian women and human rights that explore women’s civil rights and freedom of individuality in relation to the hijab, family law, and sexuality, the absence of work on the discourse of body autonomy—the most fundamental human right—has created a deficiency in the field. My research examines the discourse of body autonomy in the context of liberation among Iranian women while also assessing the role of the internet as informal emancipatory educational tools. To explore the discourse of body autonomy, I draw upon critical and transnational feminist theory and the theoretical frameworks of Derayeh, Foucault, Shahidian, Bayat, Mauss, and Freire. Additionally, in-depth semi-structured interviews with Iranian women aged 26 to 42 in Iran support my analysis of the practice and understanding of body autonomy personally, on the internet, and social media. The results identify and explicate some of the major factors affecting the practice and awareness of body autonomy, particularly in relation to the goal of liberation for Iranian women. -
Rain of the Children Film Study Guide
Film Study Guide RAIN OF THE CHILDREN 1 / RAIN OF THE CHILDREN New Zealand Film Commission Film Study Guide Rain of the Children The following are activities based on the achievement objectives presented ENGLISH in the Ministry of Education document, ‘English in the New Zealand Curriculum’. They may provide a starting point for teachers wishing to (Achievement Standards) Level 1.5: Show understanding of design a unit based on the film. a visual text. Level 2.5: View, study, analyse visual text. Level 3.4: Respond critically to visual text. 11. Write 5 statements that you MEDIA STUDIES Level 2.2: Closely read an unfamiliar media text. Level 2.3: Demonstrate understanding of messages, values and representations within media text. Level 2.4: Undertake a media genre study. Level 2.5: Explain the use of narrative conventions in media text. Level 3.2: Explain how meaning is created in media texts. GENRE Making a documentary is a more complex activity than many viewers realise. Rain of the Children is a highly ambitious example because it is feature-length, it combines a big historical story with complex personal stories, it uses reconstruction (dramatised events), and it moves between a number of different time levels. Its director, Vincent Ward, is among New Zealand’s most important and original film makers. For all these reasons, it is a rich documentary to study. The documentary genre reflects our desire to get as close as possible to the truth. Rain of the Children grew out of Ward’s sense that there was still much he did not understand about Te Puhi Tatu, the subject of his 1980 documentary In Spring One Plants Alone. -
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. -
Download the Monthly Film & Event Calendar
SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours. -
The Staging of Affect and the “Elsewhens” of Documentary Space
djkal The Staging of Affect and the “Elsewhens” of Documentary Space Dan Fleming A quarter of a century ago, the English critic and writer John Berger said, “The true stories of our time have to be able to reconcile a pile of clothes in a drawer with world historical upheavals.”1 This seems like an ideal prescription for documentary but, given our times of intensified globalization and the reorganization of “world historical upheavals” around a particular global narrative, the practical challenge behind Berger’s word “reconcile” seems even more daunting than it did in 1985. In particular, the “pile of clothes in a drawer,” the lived spaces of the everyday, the intimate, the personal, the forgotten, the material things tinged with memory, seem even more at risk of consignment to the category of the inconsequential. Certain durable public exceptions, like the piled and tangled frames and cracked lenses of the Auschwich-Berkenau spectacles, have achieved an iconic status as personal markers of world historical trauma (thus celebrities being invited to donate pairs of old spectacles to a 2008 exhibit in Liverpool, England, marking National Holocaust Day2) but, if anything, this has raised the bar on just whose “pile of clothes in a drawer” might connect with the “true stories of our time” that Berger envisaged. The recent opening of so many old drawers to the burgeoning “family history” genre (e.g. television’s Media Fields Journal no. 3 (2011) 2 The Staging of Affect Who Do You Think You Are?) tends not to facilitate this connection so much -
US Television Icon Mary Tyler Moore Dead at 80
Lifestyle FRIDAY, JANUARY 27, 2017 Iran actress to boycott Oscars over 'racist' Trump visa ban he Iranian star of Oscar-nominated film foreign language film at the Academy "The Salesman" said yesterday she Awards, which take place next month. Twould boycott the awards in protest at Farhadi won an Oscar in 2012 for his film "A President Donald Trump's "racist" ban on Separation". Visa applications from Iraq, Syria, Muslim immigrants. "Trump's visa ban for Iran, Sudan, Libya, Somalia and Yemen are all Iranians is racist. Whether this will include a expected to be stopped for a month under a cultural event or not, I won't attend the draft executive order published in the #AcademyAwards 2017 in protest," tweeted Washington Post and New York Times. The Taraneh Alidoosti, the film's 33-year-old lead draft order also seeks to suspend the US actress. Trump is reportedly poised to stop refugee program for four months as officials visas for travellers from seven Muslim coun- draw up a list of low risk countries. —AFP tries, including Iran, for 30 days. He told ABC News on Wednesday that his plan was not a "Muslim ban", but targeted This image released by Cohen Media countries that "have tremendous terror." "The group shows Shahab Hosseini, left, Salesman", directed by acclaimed Iranian film- and Taraneh Alidoosti in a scene maker Asghar Farhadi is nominated for best from "The Salesman." — AP US television icon Mary Tyler Moore dead at 80 egendary actress Mary Tyler Moore, who delighted a genera- 'Effortless piece of cake' also married in real life. -
Sydney Film Festival 6-17 June 2012 Program Launch
MEDIA RELEASE Wednesday 9 May, 2012 Sydney Film Festival 6-17 June 2012 Program Launch The 59th Sydney Film Festival program was officially launched today by The Hon Barry O’Farrell, MP, Premier of NSW. “It is with great pleasure that I welcome the new Sydney Film Festival Director, Nashen Moodley, to present the 2012 Sydney Film Festival program,” said NSW Premier Barry O’Farrell. “The Sydney Film Festival is a much-loved part of the arts calendar providing film-makers with a wonderful opportunity to showcase their work, as well as providing an injection into the State economy.” SFF Festival Director Nashen Moodley said, “I’m excited to present my first Sydney Film Festival program, opening with the world premiere of the uplifting Australian comedy Not Suitable for Children, a quintessentially Sydney film. The joy of a film festival is the breadth and diversity of program, and this year’s will span music documentaries, horror flicks and Bertolucci classics; and the Official Competition films made by exciting new talents and masters of the form, will continue to provoke, court controversy and broaden our understanding of the world.” “The NSW Government, through Destination NSW, is proud to support the Sydney Film Festival, one of Australia’s oldest films festivals and one of the most internationally recognised as well as a key event on the NSW Events Calendar,” said NSW Minister for Tourism, Major Events and the Arts, George Souris. “The NSW Government is committed to supporting creative industries, and the Sydney Film Festival firmly positions Sydney as Australia’s creative capital and global city for film.” This year SFF is proud to announce Blackfella Films as a new programming partner to jointly curate and present the best and newest Indigenous work from Australia and around the world. -
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. -
Iranian Women in the Year 1400: the Struggle for Equal Rights Continues
ISSUE BRIEF Iranian Women in the Year 1400: The Struggle for Equal Rights Continues APRIL 2021 MEHRANGIZ KAR AND AZADEH POURZAND You want to erase my being, but in this land I shall remain I will continue to dance as long as I sustain I speak as long as I’m living; fury, roar, and revolt your stones and rocks I fear not, I’m flood, my flow you can’t halt — Poet Simin Behbahani1 The story of Iranian women’s struggle for equality in many ways embodies the nation’s struggles as a whole. It is a tale of continuous bargaining with the state by citizens of diverse backgrounds. While Iranian women have made remarkable strides in various fields such as science, the arts, and business, they continue to face discriminatory laws, policies, and practices in their daily lives and beyond. The founder of the Islamic Republic of Iran (IRI), Ayatollah Ruhollah Khomeini, sought to maintain a strictly controlled society using religious-populist lead- ership accompanied by repression. Yet no degree of state control has suc- ceeded in shutting down society’s aspirations for a better and freer life, and the women’s movement in Iran is a dramatic example of the state’s failure. This issue brief aims to present a clearer image of women’s struggles for equal- ity to help US policy makers better understand the intricacies of Iranian soci- ety and design policies that support—but do not supplant or undermine—the women’s movement. Understanding this struggle can help policy makers look beyond simplistic solutions that see disempowered Iranian women as requiring saving from the outside or that use women’s achievements as a justification to legitimize IRI rule. -
The Insect Woman – Contextualising Imamura (And The
University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways. -
The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism. -
19 .01 .12 > 29 .01
SAMURAI SPY CALENDARIO DE PROYECCIONES (異聞猿飛佐助 / Ibun Sarutobi Sasuke, 1965) Director: Masahiro Shinoda jueves 19 enero .12 Guión: Yoshiyuki Fukuda, basado en la novela de Koji Nakada The Dry Lake 17:00 / Pale Flower 19:30 / Assassination 22:00 Intérpretes: Koji Takahashi (Sarutobi Sasuke), Eiji Okada (Ta- 01 . tewaki Koriyama), Siji Miyaguchi (Horikawa Kazutaka ‘Jinnai’), Kei Sato (Takanosuke Nojiri) viernes 20 enero [blanco y negro, 100’] Samurai Spy 17:00 / My Face Is Red in the Sun 19:30 / A Fla- 29 Cinta histórica encuadrable en el género chambara o de espa- me at the Pier 22:00 dachines que sirve nuevamente a Shinoda para elaborar un pa- ralelismo con la etapa contemporánea. Nos remontamos a los sábado 21 enero años posteriores a la batalla de Sekigahara (1600), en los que el .12 > Himiko 17:00 / Pale Flower 19:30 / The Dry Lake 22:00 clan Togukawa instaura una hegemonía que durará dos siglos. El protagonista, un espía al servicio del clan, se ve envuelto en una 01 terrible lucha de poder. Una de las películas más estéticas y estili- domingo 22 enero . zadas del realizador. Samurai Spy 17:00 / Assassination 19:30 / A Flame at the Pier 22:00 19 jueves 26 enero A Flame at the Pier 17:00 / My Face Is Red in the Sun 19:30 / Himiko 22:00 viernes 27 enero My Face Is Red in the Sun 17:00 / Himiko 19:30 / Pale Flower 22:00 sábado 28 enero Assassination 17:00 / The Dry Lake 19:30 / Himiko 22:00 domingo 29 enero himikO, © 1974, Art Theatre Guild of Japan Co., Ltd.