Books

Caminhos de Kiarostami analisa as características estilísticas da obra do cineasta iraniano, um dos expoentes da cinematografia contemporânea. Baseando-se em inúmeros depoimentos do diretor e em filmes como Vida e nada mais, Close up, O gosto da cereja e Dez, Jean-Claude Bernardet reflete sobre o cinema de Abbas Kiarostami, com sua linguagem decididamente não narrativa e suas ficções com jeito de documentário. Mas a questão analisada não é a relação entre ficção e documentário, e sim o princípio da incerteza que rege a obra do cineasta: em decorrência desse recurso autoral, o espectador nunca sabe exatamente a que está assistindo.

An updated collection of interviews with filmmakers whose works represent trends in the film industries of Central Asia.

Examines the work of Iranian-German filmmaker, Sohrab Shadid-Saless, focusing on the themes of displacement and exile in his filmsReflects on Sohrab Shahid-Saless' work and its implications for issues of creativity in diasporic conditions Provides a comprehensive account of Shahid-Saless' work including his films and production methods, as well as personal letters that offer an insight into his process and thoughts Includes close readings of films including A Simple Event (1073), Still Life (1974), Utopia (1983), Coming of Age (1974) and Far From Home (1975)An Iranian immigrant struggling to integrate into 1970s German society, the filmmaker Sohrab Shahid Saless (1944-98) has become a neglected figure in discussions of diaspora cinema. In this - the first English-language book to reflect on his work and its implications for creativity in the diasporic conditions of urban displacement - a range of international scholars provide a comprehensive account of Shahid Saless's films and production methods. Outlining his affinity with celebrated directors like Chantal Akerman and Abbas Kiarostami, as well as visual artists like Romuald Karmakar, the contributors firmly position Shahid Saless as a filmmaker who speaks forcefully to the traumas of displacement and migration. Contributors›Hamid Naficy, Northwestern UniversityChristopher Gow, IndependentMatthias Wittmann, University of BaselMajid Eslami, IndependentMichelle Langford, UNSW, SydneyAzadeh Fatehrad, Kingston UniversityMichael Mazière, University of WestminsterGareth Evans, Whitechapel GalleryDario Marchiori, Université Lyon 2Pierre d'Alancaisez, IndependentBert Schmidt, IndependentBehrang Samsami, IndependentOmid Abdollahi, Independent

"Relaying Cinema in Midcentury Iran investigates how the cultural translation of cinema has been shaped by the physical translation of its ephemera. Kaveh Askari examines film circulation and its effects on Iranian film cultures in the period before foreign studios established official distribution channels and before Iran became a notable site of so-called world cinema. This transcultural history draws on cross-archival comparison of films, distributor memos, licensing contracts, advertising schemes, and audio recordings. Askari meticulously tracks the fragile and sometimes forgotten material of film as it circulated through the Middle East into Iran and shows how this material was rerouted, reengineered, and reimagined in the process. "-- Provided by publisher

"This book examines transformations in the production and domestic and international reception of Iranian cinema between 2000 and 2013 through the intersection of the political markers - the presidential terms of Reformist president Mohammad Khatami and his successor, the conservative Mahmoud Ahmadinejad - and filmic markers, particularly Jafar Panahi's The Circle (2000) and Asghar Farhadi's About Elly (2009). Through extensive field and media research, the book considers the interaction of a range of factors including government policy, Iranian national cinema genres and categories, intended audience, funding source, and domestic and international reception, to demonstrate the interplay between filmmakers and the government over these two successive presidencies. While the impact of politics on Iranian filmmaking has been widely examined, this work argues for a more nuanced understanding of politics in and of the Iranian cinema than has generally been previously acknowledged. Drawing on both personal experience as a juror at the Fajr International Film festival and interviews with significant filmmakers, producers, actors and other industry insiders, including senior bureaucrats and politicians, the volume is a key resource for anyone interested in politics and Iranian cinema"-- Provided by publisher