The Films Of Makhmalbaf

Author: Eric Egan
Publisher: Mage Pub
ISBN:
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The Films Of Makhmalbaf from the Author: Eric Egan. The "Films of Makhmalbaf examines the close and volatile relationship between a highly popular art form, the production of culture, and the politics of power in a society. Through a critical analysis of Mohsen Makhmalbaf's films, this book reveals the social and political context of Iran's national cinema under the Islamic Republic. It tracks the emergence of Iranian cinema since the Islamic Revolution, as Makhmalbaf, one of Iran's most influential filmmakers, and a committed artist whose work is provocative and never far from controversy, sought to engage the dramatic social and political upheavals that have taken place over the past twenty-four years. Makhmalbaf's films have always been reflexive meditations on the nature of cinema and art within a society, and Makhmalbaf's art, as part of that system, provides a view of film as an extension of its political environment. And as Iranian society has changed, so Makhmalbaf's films have progressed, from ardently advocating the declared ideals ofthe new regime to criticizing the failures of the revolution and examining controversial issues, all the while elucidating the social and political role of art and the artist.

Iranian Cinema In A Global Context

Author: Peter Decherney
Publisher: Routledge
ISBN: 1317675193
Size: 20.32 MB
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Iranian Cinema In A Global Context from the Author: Peter Decherney. Iranian films have been the subject of much critical and scholarly attention over the past several decades, and Iranian filmmakers are mainstays of international film festivals. Yet most of the attention has been focused on a small segment of Iranian film production: auteurist art cinema. Iranian Cinema in a Global Context, on the other hand, takes account of the wide range of Iranian cinema, from popular youth films to low budget underground films. The volume also reassesses the global circulation of Iranian art cinema, looking at its reception at international festivals, in university curricula, and at the Academy Awards. A final theme of the volume explores the intersection between politics and film, with essays on post-Khatami reform influences, representations of ineffective drug policies, and the representation of Jewish characters in Iranian film. Taken together, the essays in this volume present a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.

Reform Cinema In Iran

Author: Blake Atwood
Publisher: Columbia University Press
ISBN: 023154314X
Size: 52.56 MB
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Reform Cinema In Iran from the Author: Blake Atwood. It is nearly impossible to separate contemporary Iranian cinema from the Islamic revolution that transformed film production in the country in the late 1970s. As the aims of the revolution shifted and hardened once Khomeini took power and as an eight-year war with Iraq dragged on, Iranian filmmakers confronted new restrictions. In the 1990s, however, the Reformist Movement, led by Mohammad Khatami and the film industry, developed an unlikely partnership that moved audiences away from revolutionary ideas and toward a discourse of reform. In Reform Cinema in Iran, Blake Atwood examines how new industrial and aesthetic practices created a distinct cultural and political style in Iranian film between 1989 and 2007. Atwood analyzes a range of popular, art, and documentary films. He provides new readings of internationally recognized films such as Abbas Kiarostami’s Taste of Cherry (1997) and Mohsen Makhmalbaf’s Time for Love (1990), as well as those by Rakhshan Bani, Masud Kiami, and other key Iranian directors. At the same time, he also considers how filmmakers and the film industry were shaped by larger political and religious trends that took shape during Mohammad Khatami’s presidency (1997-2005). Atwood analyzes political speeches, religious sermons, and newspaper editorials and pays close attention to technological developments, particularly the rise of video, to determine their role in democratizing filmmaking and realizing the goals of political reform. Atwood concludes with a look at the legacy of reform cinema, including films produced under Mahmoud Ahmadinejad, whose neoconservative discourse rejected the policies of reform that preceded him.

Makhmalbaf At Large

Author: Hamid Dabashi
Publisher: I.B.Tauris
ISBN: 0857714554
Size: 62.21 MB
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Makhmalbaf At Large from the Author: Hamid Dabashi. The name of Mohsen Makhmalbaf is almost synonymous with the dramatic rise of Iranian cinema in the aftermath of the Islamic Revolution, and over the last quarter of a century, his career as filmmaker and writer has reflected the tumultuous history of his homeland and the fate of its neighbours. _x000D_ _x000D_ Hamid Dabashi draws from his friendship with Makhmalbaf, as well as his direct involvement with Makhmalbaf's films and thought, to give us this deeply engaging book on the tumultuous life and spectacular career of a great filmmaker. _x000D_ _x000D_ This is also the account of Makhmalbaf's transformation, from committed Muslim revolutionary, who was jailed for his part in the revolution, into an artistic humanist of great energy and elegance. His films, including 'The Peddler' and 'The Time for Love', 'Salaam Cinema', 'Gabbeh', 'Silence' and 'Kandahar', confound conventional genres and are always surprising. They represent his own journey and take part in it, in ways that Dabashi explores with great insight. _x000D_ _x000D_ Makhmalbaf's cinematic career started in Iran and has since expanded into Turkey, Tajikistan, Afghanistan, Pakistan, India and into Europe. Dabashi uncovers how, moving across boundaries, Makhmalbaf's creative genius can illuminate our contemporary world._x000D_ _x000D_ And this book is in part the story of a friendship. As Mohsen Makhmalbaf writes in its Preface: ‘Hamid Dabashi - this pious atheist friend of mine, the man who loves cinema and hates art, this political activist who abhors politics, this thinking, pondering, critical intellect... I have learned much from him. Perhaps he too, has learned from me. The times he and I have spent together have been occasions of discovery and illumination.’

Cine Ethics

Author: Jinhee Choi
Publisher: Routledge
ISBN: 1136745963
Size: 18.70 MB
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Cine Ethics from the Author: Jinhee Choi. This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films

The New Iranian Cinema

Author: Richard Tapper
Publisher: I.B.Tauris
ISBN: 9781860648045
Size: 33.21 MB
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The New Iranian Cinema from the Author: Richard Tapper. Iranian cinema is today widely recognized not merely as a distinctive national cinema, but as one of the most innovative in the world. This international stature both fascinates Western observers and appears paradoxical in line with perceptions of Iran as anti-modern. The largely Iranian contributors to this book look in depth at how Iranian cinema became a true ‘world cinema’. From a range of perspectives, they explore cinema’s development in post Revolution Iran and its place in Iranian culture.

De Westernizing Film Studies

Author: Saer Maty Ba
Publisher: Routledge
ISBN: 1136502513
Size: 66.87 MB
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De Westernizing Film Studies from the Author: Saer Maty Ba. De-Westernizing Film Studies aims to consider what form a challenge to the enduring vision of film as a medium - and film studies as a discipline - modelled on ‘Western’ ideologies, theoretical and historical frameworks, critical perspectives as well as institutional and artistic practices, might take today. The book combines a range of scholarly writing with critical reflection from filmmakers, artists & industry professionals, comprising experience and knowledge from a wide range of geographical areas, film cultures and (trans-)national perspectives. In their own ways, the contributors to this volume problematize a binary mode of thinking that continues to promote an idea of ‘the West and the rest’ in relation to questions of production, distribution, reception and representation within an artistic medium (cinema) that, as part of contemporary moving image culture, is more globalized and diversified than at any time in its history. In so doing, De-Westernizing Film Studies complicates and/or re-thinks how local, national and regional film cultures ‘connect’ globally, seeking polycentric, multi-directional, non-essentialized alternatives to Eurocentric theoretical and historical perspectives found in film as both an artistic medium and an academic field of study. The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics. Contributors: Nathan Abrams, John Akomfrah, Saër Maty Bâ, Mohammed Bakrim, Olivier Barlet, Yifen Beus, Farida Benlyazid, Kuljit Bhamra, William Brown, Campbell, Jonnie Clementi-Smith, Shahab Esfandiary, Coco Fusco, Patti Gaal-Holmes, Edward George, Will Higbee, Katharina Lindner, Daniel Lindvall, Teddy E. Mattera, Sheila Petty, Anna Piva, Deborah Shaw, Rod Stoneman, Kate E. Taylor-Jones

The Politics Of Iranian Cinema

Author: Saeed Zeydabadi-Nejad
Publisher: Routledge
ISBN: 1135283095
Size: 23.61 MB
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The Politics Of Iranian Cinema from the Author: Saeed Zeydabadi-Nejad. Iran has undergone considerable social upheaval since the revolution and this has been reflected in its cinema. Drawing on first-hand interviews and detailed ethnographic research, this book explores how cinema is engaged in the dynamics of social change in contemporary Iran. The author not only discusses the practices of regulation and reception of films from major award winning directors but also important mainstream filmmakers such as Hatamikia and Tabizi. Contributing to ethnographic accounts of Iranian governance in the field of culture, the book reveals the complex behind-the-scenes negotiations between filmmakers and the authorities which constitute a major part of the workings of film censorship. The author traces the relationship of Iranian cinema to recent social/political movements in Iran, namely reformism and women’s movement, and shows how international acclaim has been instrumental in filmmakers’ engagement with matters of political importance in Iran. This book will be a valuable tool for courses on film and media studies, and will provide a significant insight into Iranian cultural politics for students of cultural studies and anthropology, Middle Eastern and Iranian studies.

The Poetics Of Iranian Cinema

Author: Khatereh Sheibani
Publisher: I.B.Tauris
ISBN: 0857720449
Size: 48.67 MB
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The Poetics Of Iranian Cinema from the Author: Khatereh Sheibani. In the wake of the Islamic Revolution, Iran experienced not only profound political and social changes, but also underwent a dramatic shift in its cultural and literary discourse. In The Poetics of Iranian Cinema, Khatereh Sheibani argues that Persian poetry, fiction, painting and other art forms all were influenced by the upheavals of the 1970s and 80s, but that this remarkable cultural revolution is best evidenced in Iranian films. In fact, she holds that film ultimately replaced poetry as the dominant form of cultural expression in Iran, and that post-revolutionary poetics evolved from a literary and written-based poetry into a visually-oriented form of moving images. She thus presents a comparative analysis of post-revolutionary Iranian cinema as an offshoot of Iranian modernity, and explains its connections with the themes present in traditional Persian poetry and conventional visual arts. _x000D_ _x000D_ Despite the initial clerical denunciations of cinema after the Revolution, by the late 1980s and in the aftermath of the Iran-Iraq war, Iranian cinema had regained its position as a form of cultural expression. Many new wave directors, like Darush Mehrjui and Abbas Kiarostami, began to become more active, and drew on the formal and thematic elements within Persian literature and conventions of performing arts to create an Iranian art cinema. Sheibani therefore examines the pre-revolutionary film industry - such as Iranian new wave and filmfarsi movies - its styles and themes, and its relation to the emerging cinema after 1978. _x000D_ _x000D_ By employing a close examination of Kiarostami’s body of work - films such as ‘Where is the Friend’s House?’, ‘Through the Olive Trees’ or ‘Ten’ - as well as the films of Bahram Bayzai - such as ‘The Crow’ or ‘Travellers’ - Sheibani reveals a close resemblance to the classical poetic sub-genre of the ghazal in both formal structure and context. Relating Hafiz’s lyrical poetry to a particular kind poetic cinema known as cinema-ye taghazzuli (or lyrical cinema), Sheibani offers a valuable and very original contribution to the scholarly literature on Iranian cinema, politics and culture._x000D_