Library
تاریخ تحلیلی صد سال سینمای ایران
Author: عباس بهارلو
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Language: Farsi
صدای پا – تاريخچه سینما ایران
Author: حمید شعاعی
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Language: Farsi
آینه های روبرو (فیلمنامه)
Author: بهرام بیضایی
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“The Infinity Mirrors” is a screenplay by Bahram Beyzai which implicitly enclosed the most important periods before it or, the most difficult aspects of Iran’s contemporary history, at the center of its story. Although this story is not intended to confront politics and history, the context in which this story takes place is not totally unrelated to politics, and “Bahram Baizaei” has dealt with the issue of revolution in it. Nez’hat is advised by one of the prison guards to sleep with the General in charge of her brother’s case who is sentenced to be executed soon. After a week of being passed around, Nez’hat finally realizes that she’s been deceived and played with as her brother has already been shot to death. She decides to break up her engagement with her fiancé, Eftekhari prior to giving herself up to the General’s pleasure. This is while Eftekhari is still in love with her and all that happened surrounding Nez’hat’s brother’s execution hasn’t changed his decision in the slightest. Nez’hat assumes that she can belittle the General by sleeping around with men from the lowest levels of society. Nez’hat’s father dies from the grief of her daughter’s prostitution and the rest of the family ostracize her.
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Language: Farsi
از دور و نزدیک – 45 مقاله و گفتگو درباره ی سینما از ۱۳۵۳ تا ۱۳۹0
Author: Aidin Aghdashloo-آغداشلو، آیدین
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The present collection consists of forty-five film articles written and published by Aidin Aghdashloo between the years 1974 to 2011. The content of this collection includes film critiques of Iranian and international films and filmmakers, memoirs, reports, references, interviews, and theoretical discussions. The articles in the first section revolve around cinema and its influences. In the second section, films such as ” The Passion of the Christ “, “Fani and Alexander”, ” The Defeated Conqueror “, and ” Ten Days to the Sea ” are critically reviewed. The third section, dedicated to filmmakers, explores the works of Ali Hatami, Robert Altman, Ebrahim Golestan, Abbas Kiarostami, Masoud Kimiai, and others. Reports, interviews, and several other articles are also included in this collection.
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Language: Farsi
سینما و سوسیالیسم در ایران
Author: احمد زاهدی لنگرودی
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Language: Farsi
سی و دو سال سینمای ایران بعد از انقلاب (بودن یا نبودن)
Author: Mojtaba Habibi
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In the book “Thirty-Two Years of Iranian Cinema After the Revolution (Existence or Non-Existence),” Mojtaba Habibi delves into the critique and analysis of films after the victory of the Islamic Revolution, ultimately describing the views of the leaders of the system regarding cinema. Cinema, as a powerful mass medium, quickly established and secured its position and, at least two decades after its emergence, surpassed the preceding arts that had in some way influenced its formation. With technological advancements in each decade, cinema’s recreational and entertainment aspects have also increased. In Iran, the growth of cinema began with jolly and ebullient Indian movies along with Persian and Turkish movies and continued with artistic films that had a festival-oriented approach, such as those by Satyajit Ray, Ebrahim Golestan, Bahram Beizai, Dariush Mehrjui, and others.
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Language: Farsi
تاریخچه کامل دوبله به فارسی در ایران دهه ۱۳۹۲-۱۳۵۰
Author: احمد ژیرافر
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This book recounts the historical journey of film dubbing in Iran, from the early and initial methods of using intertitles to dubbing films into Persian in foreign countries including India, Egypt, the Soviet Union, Turkey, Italy, France, America, and Germany. The author in this collection has attempted to delve into the dark and unknown aspects of dubbing. Additionally, it introduces the history of film dubbing in Iran in each decade from the 1920s to the 1990s, along with the films shown each year and the best examples of dubbing in each year. Other sections of the book include one hundred outstanding dubs and one hundred selected voice actors, which encompass the film dubbing credentials and the introduction of dubbing directors and selected voice actors. The final section of the book includes biographies and introductions of dubbing historians to the present day, accompanied by interesting and nostalgic photographs and memories. Some of the content is the result of conversations with artists in this field.
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Language: Farsi
علی حاتمی – مجموعه آثار، فیلمنامه هاى سینمایى و تلویزیونى، نمایشنامه ها، آثار اجرا نشده
Author: علی حاتمی
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Language: Farsi
طرحی از دوست
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Language: Farsi
فرهنگ فیلم های سینمای ایران
Author: جمال امید
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Language: Farsi
فرشته های سوخته – نقد و بررسی سینمای تهمینه میلانی
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Language: Farsi
فانوس خیال
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Language: Farsi
علیت فلسفی در سینما
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Language: Farsi
نقش سینما در انقلاب ایران
Author: Amir Shafaqi- امیر شفقی
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During the 1960s and 1970s, while cinema is becoming the most significant modern entertainment for urban Iranians, it also becomes the most influential medium in society. This situation occurs while the Iranian society, after the White Revolution, is engaged in the most intense covert and overt battle between the manifestations of modernity and traditionalism. In fact, the rise of Iranian cinema, after the movie “Ganj-e Qarun” (Qarun’s Treasure) coincides with the intensification of conflicts between traditional values and the new order brought about by modernity. This book examines the relationship between Iranian cinema and this ongoing struggle.
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Language: Farsi
اکسیر نقش – زندگی هنری محمد علی کشاورز
Author: Azam Kianafraz, Yasin Mohammadi, Ali Nasirian- اعظم کیان‌افراز، یاسین محمدی، علی نصیریان
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The first part of the book takes a narrative approach to the personal and theatrical life of Mohammad Ali Keshavarz. Then, we have selected five reviews that examine Keshavarz’s work in both the role of an actor and a theater director. Furthermore, a detailed description is provided of the films in which Mohammad Ali Keshavarz has acted. Following that, four interviews with Keshavarz are included, with the first interview conducted by Behzad Sedighi and the subsequent three interviews selected from the numerous interviews that Mohammad Ali Keshavarz has given to post-revolutionary publications. Additionally, Keshavarz’s undergraduate thesis titled “The Reciprocal Influences of Society and the Artist on Each Other” has been published in this book as is. The conclusion of this section includes visual appendices comprising over a hundred images and documents that have been collected from various sources.
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Language: Farsi
اسنادی از موسیقی تئاتر و سینما در ایران – جلد سوم
Author: eyyed Hossein Mousavi, Hadi Khaniki, Ahmad Masjed Jame'i- سیدحسین موسوی، هادی خانیکی، احمد مسجدجامعی
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In this three-volume collection, documents relating to music, theater, and cinema in Iran (during the years 1921 to 1978) have been compiled. These documents reflect the most important issues and problems faced by artists, directors, musicians, cinema owners, café, and restaurant managers, as well as their expectations from the government and the nation. Other topics covered in the documents include the cost of ceremonies and celebrations, hiring foreign musicians, the establishment of music, cinema, and theater schools and institutes, dispatching artistic groups abroad for performances, performances by foreign artists in Iran, the establishment of filming and production companies, inauguration of certain cinemas, criticism of films, protests against increased municipal fees, and similar subjects. Certain laws, by-laws, canons, and circulars related to music, theater, and cinema are also included in specific sections of the book. The compiler of this collection has prepared it based on the documents available at the “Presidential Archives Center” and the ” National Library and Archive of Iran.”
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Language: Farsi
از سینما تِکِ پاریس تا کانونِ فیلمِ تِهران
Author: پرویز جاهد- Parviz Jahed
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Farrokh Ghaffari’s legacy is not insignificant to Iranian cinema. He was a pioneer to undertake the collection of documents and materials related to the history of Iranian cinema. He was also the first person to establish the National Film Center and subsequently, the National Film House in Iran. Ghaffari, like Ebrahim Golestan and Farrokh Rahnama, is important not only for his films but also for the various roles he played in the Iranian artistic and cinematic community. The book “From Cinema Tec Paris to the Tehran Film Center” includes a conversation between Farrokh Ghaffari and Parviz Jahed. Farrokh Ghaffari was a cinema scholar, historian, critic, director, and one of the pioneers of Iranian New Wave cinema. Resembling Ebrahim Golestan and Farrokh Rahnama, Ghaffari too is not deemed significant merely for his films; he has also worked in various fields and areas and had multiple roles in the Iranian contemporary art community. The present interview showcases the different dimensions of Farrokh Ghaffari’s work in his own words, in various fields and areas he has worked in. It serves as an important source for students and researchers of contemporary art in Iran, especially in the field of cinema.
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Language: Farsi
از حاجی واشنگتن تا حاج کاظم – ژانرهای سینمایی در ایران
Author: Seyed Naser Hashem Zadeh- سید ناصر هاشم‌زاده
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After the victory of the Islamic Revolution, different genres of cinema in Iran gained various experiences. Sometimes, by disregarding the taste of the national audience, post-revolution genres of Iranian cinema have become reluctantly disinterested in the narrator cinema, and at other times, they have gone to the extremes in excessive adaptation albeit mostly from foreign literature. Sometimes, they have glorified heroism in significant arenas like the imposed war, and other times, they have created mountains out of molehills and inadvertently or deliberately engaged in sensationalism and detraction in society. Occasionally, they have reflected on issues of the intellectual thinkers of society as the minority and other times, they have become narrators of the filmmaker’s paradoxical thoughts. The analysis of important complications such as festival-centricity, politicization, disregard for untapped potentials like “shared cinema” (among nations with cultural affinities), etc., plays a crucial role in forming our proper understanding of the various cinematic forms and genres. Accordingly, this book initially takes a pathological approach to the most significant themes and intellectual and cultural aspects of prominent cinematic genres in the country. Finally, key points and strategic approaches for improving the current situation are presented.
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Language: Farsi
فرهنگ فیلم های سینمای ایران
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Language: Farsi
فرهنگ سینمای ایران
Author: حمید شعاعی
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Language: Farsi
بهرام بیضایی از نگاهی دیگر- بررسی چهار اثر سینمایی بهرام بیضایی
Author: سهیلا نجم
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In this book, Dr. Soheila Najm has examined the following four outstanding works of Bahram Bayzaei in four different narratives: “Passing through the Mirror of History in the Death of Yazdgerd”; “Woman’s Image and the Mythical Infrastructure in Basho, the Little Stranger”; “A Look at the Screenplay of the Shahnameh’s Modern preamble” and “Passengers from Another Point of View”. These four cinematic works are various experiences that each have roots in Beyzaei’s exploration in the discovery and comprehension of endemic rituals and performances of Iran and other theatrical domains of the East.
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Language: Farsi
بوطیقای گسست – سینمای اصغر فرهادی
Author: مازیار اسلامی
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In this book, Eslami has discussed Asghar Farhadi’s cinema and its peculiar characteristics. Farhadi’s cinema is the product of the historical disintegration created during the reform period in the history of Iranian cinema, which includes the transition period between the dichotomy of cinema and the cinematographer before and after the 1979 Islamic Revolution. This period resulted in the emergence of a new generation of filmmakers to overcome the historical division that began with the 1979 revolution and had somewhat redefined other social, political, and cultural fields. This historical division created two prefixes, “pre” and “post” revolution, to describe two different situations, not merely historically, but rather ontologically. The dichotomy underwent a crisis in June 1997. This crisis – although not prosperous, at least in some cases made the rigid figure in front of this dichotomy problematic. By unfurling a new space, through a new generation, to discredit the false dichotomy that, on the one hand, held at its pinnacle the intellectualism of pre-revolution cinema, and on the other hand, held the engineered religious and value-oriented cinema of post-revolution that deemed itself the historical representative of revolution-era cinema. Various cinematographers were the product of this crisis and expressed distinct reactions to the void created by this rupture. The first response to this constructed semantic void, to this dual displacement of “pre” and “post” revolution, was inherently the same as the official religious and value-oriented narrative, similar to its modern form. This response entailed refusal and denial to accept such a void. Fundamentally, if some kind of displacement had occurred, there would always be a greater, more stable, and indisputable meaning that could fill in this void.
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Language: Farsi
عشق سال های فیلمفارسی و نوزایی سینمای ایران
Author: بهزاد عشقی
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In this book, the renaissance of Iranian cinema, which came from the heart of Farsi film, as well as the emergence of history-making filmmakers, such as Masoud Kimiai, Dariush Mehrjui and others, are analyzed from a sociological perspective. Among the topics discussed in this book are: ‘Lasting characters and literary adaptations’, ‘Street cinema and Iranian Naturalism’, ‘Mania, modern rationality and the cinema of Parviz Kimiavi’, ‘The politics of elimination and the game of feigning ignorance’, ‘The star is dead and will not die again’, ‘Let’s not make a Stalin out of Kiarostami’, ‘Reading lies and history’, ‘Farhadi’s references and intertextual dialogues’, and others. The story of this book begins from the end of the 1960s up to the present day when the art of Iranian cinema has turned into the most important cultural ambassador for the country in international congregations.
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Language: Farsi
بازتاب سینمای نوین ایران در جهان
Author: جلال خسروشاهی
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The first section includes the preface as well as the introduction. The achievement of Iran’s new wave cinema before the Islamic Revolution; the public view of the world’s reception of modern Iranian cinema; and the global presence of modern Iranian cinema based on statistics are also discussed in the first section. In the second section, Iranian films and foreign press and media will be reviewed. And the third chapter is composed of an interview with Alireza Shoja Nouri, list of films and festivals, and Iranian movie posters for abroad.
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Language: Farsi
عباس کیارستمی فیلمساز رئالیست
Author: ایرج کریمی
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Language: Farsi
فقط سینما و همین
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Language: Farsi
فصلنامه سیاسی فارابی
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Language: Farsi
قصه سینماجات عهد بوق
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Language: Farsi
فیلمنامه مسافران
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Language: Farsi
شيار ۱۴۳
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Language: Farsi
فیلمفارسی
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Language: Farsi
مجموعه مقالات در نقد و معرفی آثار عباس کیارستمی
Author: زاون قوکاسیان
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Language: Farsi
تاریخ سینمای ایران
Author: جمال امید
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After the victory of the 1979 Islamic Revolution, cinema was one of the fields that underwent immense serious modifications. After the heated debates of the early years of post-revolution, and following qualitative developments in this area, Iranian cinema has been able to win many awards in international festivals. This book is the most comprehensive and complete reference on Iranian cinema from the first days to the threshold of the Islamic Revolution. In 18 separate chapters, this book covers the following titles: Genesis and Utilization, Ovanes Ohanian, Sepanta, Recession, Second Birth, Others are Coming, Years of Repeating Prosperity and Depression, Ten Years to Fall, Documentary Cinema, Censorship, Dubbing, Cinema Publications, Film Club, Festivals, Division, Fees and Union, Television, Institute for the Intellectual Development of Children and Young Adults and Free Cinema. This book additionally includes a photo album related to this period in the history of Iranian cinema.
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Language: Farsi
تاریخ اجتماعی سینمای ایران
Author: حمید نفیسی
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The present book is the first volume of a three-volume collection written by Hamid Nafisi containing a social and political review of Iranian cinema. The first volume of this collection describes and analyses the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country’s first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. It was in this climate, therefore, that movies showing the rapid process of modernization in Iran were highly regarded.
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Language: Farsi
دگرگونی اجتماعی و فیلم های سینمایی در ایران
Author: پرویز اجلالی
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There has always been some kind of alignment and correlation between social stabilities and changes and the subjects and contents of Iranian films. Iranian films between 1930 to 1979 reflected features of a stable Iranian society as well as characteristics of social transformations that had occurred in recent times. This is to say that popular Persian films, despite their superficiality and vulgarity, still reflected some stable and ancient characteristics of our national culture and depicted development in perspectives and attitudes from traditionalism to modernity. Accordingly, this book tries to first describe the social institution of filmmaking in Iran before the revolution, then proceed to analyze the content of Iranian movies, and finally produce an evaluation of the process of modernizing the culture.
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Language: Farsi
راه دش‍وار سینمای در ت‍ب‍ع‍ی‍د
Author: پرویز صیاد
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In several ways, this book is more noteworthy than an ordinary research work or a collection of articles about Iran’s cinema under the Islamic Republic. Firstly, at the time of this book’s composition, many of the issues related to the Islamic Republic cinema were yet unknown. The collusion of cinema festivals with repressive regimes was not yet exposed to the extent that they are today. The dealers and moneylenders of the Islamic Republic’s regime only had a limited scope of activities. Most of the show programs for festivals were still arranged by Hamid Nafisi (the role of Hamid Nafisi is discussed in detail in Sayyad’s book), and Changiz Haghighat (who changed his name to Mohammed after he started working with the Islamic Republic). Even the managers of festivals had not yet been involved in the Fajr/Zajr Festival. At the time, Europe had not yet discovered Ertejae Sabz (Shi’i Islamic Movement) to establish public relations and open trade with the Islamic Republic thereby. Intellectuals inclined to compromise with the “holy regime” had not yet become so reckless to want to express their frustrations as an excuse for restoring national pride through supporting films that had been made with contributions of the Revolutionary Guard Bank (Pasargad Bank). This book, however, contains many important and informative points that show how our carelessness and lack of attention paved the way for further and deeper infiltration of the Islamic Republic’s agents.
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Language: Farsi
