Asghar Farhadi
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Author | : Ehsan Khoshbakht |
Publisher | : Univ. Press of Mississippi |
Total Pages | : 138 |
Release | : 2022-12-28 |
Genre | : Performing Arts |
ISBN | : 1496841077 |
The winner of two Academy Awards for Best Foreign Film in only five years, Asghar Farhadi (b. 1972) has become Iran’s most prominent director since the late Abbas Kiarostami. Around the world, especially in the international festival circuit, Farhadi is considered one of the great dramatist filmmakers of his generation. His reputation and influence in his home country is even greater, though also prone to misunderstandings, controversies, and divided critical reception. This volume offers a unique perspective into Farhadi's career in several key respects. Beginning with his work in television, the interviews collected here chart his rise from theater student to Iranian dramatist to celebrated international filmmaker. The majority of the interviews were conducted in Persian and have been translated into English for the first time. In the course of his career, Farhadi has become the new hope for Iran. On both nights of his Oscar wins, Iranians flooded the streets with joy in a rare (and illegal) celebration. Yet, like other contemporary Iranian filmmakers who have struggled to reconcile their national identity with their global repute as international filmmakers, Farhadi is at once feted and under fire by his own government. In addition to making recent films outside Iran, he has taken advantage of his celebrity status to make controversial statements on topics ranging from Donald Trump to poverty and capital punishment in Iran. He even asked Iran’s Judiciary to pardon Jafar Panahi, prompting the government to temporarily withdraw permission to shoot his renowned 2011 film A Separation. Asghar Farhadi: Interviews addresses the important dimensions that characterize contemporary Iranian filmmaking. Together, these interviews shed light on what Farhadi sees as his role and responsibilities as an Iranian filmmaker in a global age.
Author | : Tina Hassannia |
Publisher | : |
Total Pages | : 0 |
Release | : 2014 |
Genre | : History |
ISBN | : 9781941629024 |
The first book-length study of Acadamy Award-winning Asghar Farhadi, an important young Iranian filmmaker.
Author | : Drew Todd |
Publisher | : |
Total Pages | : 176 |
Release | : 2019 |
Genre | : Performing Arts |
ISBN | : 9781496823205 |
Collected interviews and writings of the Iranian filmmaker known for his remarkable films and courageous defiance of state censorship
Author | : Assal Rad |
Publisher | : Cambridge University Press |
Total Pages | : 251 |
Release | : 2022-08-25 |
Genre | : Political Science |
ISBN | : 1009239783 |
While the Iranian nation-state has long captivated the attention of our media and politics, this book examines a country that is often misunderstood and explores forgotten aspects of the debate. Using innovative multi-disciplinary methods, it investigates the formation of an Iranian national identity over the last century and, significantly, the role of Iranian people in defining the contours of that identity. By employing popular culture as an archive of study, Assal Rad aims to rediscover the ordinary Iranian in studies of contemporary Iran, demonstrating how identity was shaped by music, literature, and film. Both accessible in style and meticulously researched, Rad's work cultivates a more holistic picture of Iranian politics, policy, and society, showing how the Iran of the past is intimately connected to that of the present.
Author | : Michelle Langford |
Publisher | : Bloomsbury Publishing |
Total Pages | : 288 |
Release | : 2019-07-25 |
Genre | : Performing Arts |
ISBN | : 1350113263 |
Iranian filmmakers have long been recognised for creating a vibrant, aesthetically rich cinema whilst working under strict state censorship regulations. As Michelle Langford reveals, many have found indirect, allegorical ways of expressing forbidden topics and issues in their films. But for many, allegory is much more than a foil against haphazardly applied censorship rules. Drawing on a long history of allegorical expression in Persian poetry and the arts, allegory has become an integral part of the poetics of Iranian cinema. Allegory in Iranian Cinema explores the allegorical aesthetics of Iranian cinema, explaining how it has emerged from deep cultural traditions and how it functions as a strategy for both supporting and resisting dominant ideology. As well as tracing the roots of allegory in Iranian cinema before and after the 1979 revolution, Langford also theorizes this cinematic mode. She draws on a range of cinematic, philosophical and cultural concepts - developed by thinkers such as Walter Benjamin, Gilles Deleuze, Pier Paolo Pasolini, Christian Metz and Vivian Sobchack - to provide a theoretical framework for detailed analyses of films by renowned directors of the pre-and post-revolutionary eras including Masoud Kimiai, Dariush Mehrjui, Ebrahim Golestan, Kamran Shirdel, Majid Majidi, Jafar Panahi, Marziyeh Meshkini, Mohsen Makhmalbaf, Rakhshan Bani-Etemad and Asghar Farhadi. Allegory in Iranian Cinema explains how a centuries-old means of expression, interpretation, encoding and decoding becomes, in the hands of Iran's most skilled cineastes, a powerful tool with which to critique and challenge social and cultural norms.
Author | : Morteza Yazdanjoo |
Publisher | : Taylor & Francis |
Total Pages | : 299 |
Release | : 2022-12-29 |
Genre | : Literary Criticism |
ISBN | : 1000822028 |
As an endeavor to contribute to the burgeoning field of comparative literature, this monograph addresses the dynamic yet understudied "intertextual dialogism" between modern American literature and contemporary Iranian Cinema, pinpointing how the latter appropriates and recontextualizes instances of the former to construct and inculcate vestiges of national/gender identity on the silver screen. Drawing on Louis Montrose’s catchphrase that Cultural Materialism foregrounds "the textuality of history, [and] the historicity of texts", this book contends that literary "texts" are synchronic artifacts prone to myriad intertextual and extra-textual readings and understandings, each historically conditioned. The recontextualization of Herzog, Franny and Zooey, The Glass Menagerie, A Streetcar Named Desire, and Death of a Salesman into contemporary Iran provides an intertextual avenue to delineate the textuality of history and the historicity of texts
Author | : Julian Baggini |
Publisher | : University of Chicago Press |
Total Pages | : 318 |
Release | : 2023-05-08 |
Genre | : Philosophy |
ISBN | : 0226826643 |
An invitation to the habits of good thinking from philosopher Julian Baggini. By now, it should be clear: in the face of disinformation and disaster, we cannot hot take, life hack, or meme our way to a better future. But how should we respond instead? In How to Think like a Philosopher, Julian Baggini turns to the study of reason itself for practical solutions to this question, inspired by our most eminent philosophers, past and present. Baggini offers twelve key principles for a more humane, balanced, and rational approach to thinking: pay attention; question everything (including your questions); watch your steps; follow the facts; watch your language; be eclectic; be a psychologist; know what matters; lose your ego; think for yourself, not by yourself; only connect; and don’t give up. Each chapter is chockful of real-world examples showing these principles at work—from the discovery of penicillin to the fight for trans rights—and how they lead to more thoughtful conclusions. More than a book of tips and tricks (or ways to be insufferably clever at parties), How to Think like a Philosopher is an invitation to develop the habits of good reasoning that our world desperately needs.
Author | : Maryam Ghorbankarimi |
Publisher | : Cambridge Scholars Publishing |
Total Pages | : 225 |
Release | : 2015-10-13 |
Genre | : Performing Arts |
ISBN | : 1443884693 |
This book analyzes the changes in the representation of women in Iranian cinema since the 1960s, and investigates the reasons and motives for this. Iranian cinema, both before and after the Islamic Revolution, has been closely monitored by the ruling power, and has been utilized to relay messages and information that comply with the ruling ideology. However, it was only after the 1979 Revolution and the subsequent legitimization of cinema by the Islamic rule that cinema became widely accessible to the general public. Within this context, this book explores the changing roles of women in film production and their representation in films made between the 1960s and 2000s. Although some aspects of women’s lives became stricter after the revolution, it was in the late 1980s that women took a prominent role both behind and in front of the camera for the first time. It is demonstrated here that such shifts were due to several factors, including factionalism within the Islamic Republic, shifts in the Iranian film industry, and the emergence of a group of highly educated film production teams, in addition to the fuller integration of women into the film industry, which is analyzed in particular detail. This study explores a number of representative female-centric films, with a focus on their cultural, social and cinematic contexts. Discussing these films with respect to the representation of women, it uses textual analysis as its base methodology. Interviews conducted with filmmakers and people active in the industry also serve to place the films into their historical, social, and political context.
Author | : |
Publisher | : FilmInk |
Total Pages | : 118 |
Release | : 2014-06-19 |
Genre | : Performing Arts |
ISBN | : |
FEATURES: GUARDIANS OF THE GALAXY: Marvel blasts off with its riskiest movie yet PHIL LORD & CHRISTOPHER MILLER: Go back to college with 22 JUMP STREET CHARLIE'S COUNTRY: Rolf de Heer stakes his claim REAL TO REEL: Great docos about movies CHINA 'THE NEW FRONTIER': The changing face of world cinema. PREVIEWS: PALO ALTO: Teenage dreams LOCKE: Behind the wheel JOE: Ballad of a tough guy PREMIERE: THE HUNGER GAMES: Mockingjay Cannes Film Festival REGULARS: DIRECTORS CUT: Roman Polanski (VENUS IN FURS), Lenny Abrahamson (FRANK), Laurent Tuel (TOUR DE FORCE), Teller (TIM'S VERMEER) FILM FEST FRENZY: Cannes 2014, Melbourne International Film Festival 2014 LOCAL FOCUS: MELBOURNE - Victoria's Secrets; Animation Celebration; Melbourne Resources ACTOR SPOTLIGHT: Chris Lilley ROLE MODEL: Juliette Binoche FILMINK LOVES: Mila Kunis HOLLYWOOD ARSEHOLES REVIEWS UPCOMING RELEASES AUSTRALIAN BOX OFFICE HOME ENTERTAINEMNT: JARED LETO - Man of the moment; TATIANA MASLANY - One of a kind; BEAU WILLIMON - Power Plays; AVIKA GOLDSMAN - True Romantic; JON TURTELTAUB - Party on! PRIZE POOL
Author | : Claudia Breger |
Publisher | : Columbia University Press |
Total Pages | : 474 |
Release | : 2020-04-14 |
Genre | : Performing Arts |
ISBN | : 0231550693 |
The twenty-first century has witnessed a resurgence of economic inequality, racial exclusion, and political hatred, causing questions of collective identity and belonging to assume new urgency. In Making Worlds, Claudia Breger argues that contemporary European cinema provides ways of thinking about and feeling collectivity that can challenge these political trends. Breger offers nuanced readings of major contemporary films such as Michael Haneke’s The White Ribbon, Alejandro González Iñárritu’s Biutiful, Fatih Akın’s The Edge of Heaven, Asghar Farhadi’s A Separation, and Aki Kaurismäki’s refugee trilogy, as well as works by Jean-Luc Godard and Rainer Werner Fassbinder. Through a new model of cinematic worldmaking, Breger examines the ways in which these works produce unexpected and destabilizing affects that invite viewers to imagine new connections among individuals or groups. These films and their depictions of refugees, immigrants, and communities do not simply counter dominant political imaginaries of hate and fear with calls for empathy or solidarity. Instead, they produce layered sensibilities that offer the potential for greater openness to others’ present, past, and future claims. Drawing on the work of Latour, Deleuze, and Rancière, Breger engages questions of genre and realism along with the legacies of cinematic modernism. Offering a rich account of contemporary film, Making Worlds theorizes the cinematic creation of imaginative spaces in order to find new ways of responding to political hatred.