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حوادث این رمان در آبادان و مربوط به سه روز از محاصره این شهر توسط نیروهای عراقی است. در رمان سعی بر این شده که به گونه‌ای متفاوت و با نگاهی فلسفی به وقایع و رخدادهای جنگ پرداخته شود. قهرمان این رمان دیده‌بان نوجوان ۱۷ ساله‌ای است که به ناچار به جای دوست مجروحش راننده ماشین حمل غذا می‌شود. او از این شغل ابا دارد و سعی دارد افراد کمتری از آن باخبر شوند. وی مأمور به انجام دیده‌بانی برای عملیاتی می‌شود که طی آن قرار است رادار عراقی موسوم به «سامبلین» را گمراه کنند؛ راداری که آن را «ماشین قیامت‌ساز» می‌نامند. وی در طی این روزها در حین ماموریتش در شغل جدید با افراد مختلفی (از جمله یک مهندس نیمه دیوانه) آشنا می‌شود و این آشنایی تحولی بزرگ را در او ایجاد می‌کند.

نویسنده در کتاب حاضر با محور قرار دادن سینمای کودک و نوجوان، ابتدا مسیر سینمای ایران را در این بخش ترسیم کرده و سپس متن گفت‌وگو با «هوشنگ مرادی کرمانی» آورده شده و در پایان با معرفی «محمدعلی طالبی» یکی از فیلم‌سازان مطرح و موفق در سینمای کودک و نوجوان ایران، آثار او به طور جداگانه معرفی و مورد بحث قرار گرفته است. در این مثال فیلم‌های «چکمه»، «تیک و تاک»، «کیسة برنج»، «بید و باد»، «تو آزادی»، «علفزار»، «باد و مه» و... مورد توجه واقع شده است. نگاه «محمدعلی طالبی» در روایت‌هایش صادقانه و درون‌مایة مشترک آثارش امید به آینده ذکر شده است

این کتاب گزیده ای است از مقاله های منتشر شده از نویسنده در فاصله سال های ۱۳۶۴ تا ۱۳۶۹ در مطبوعات سینمایی و غیرسینمایی؛ و نیز مجموعه ای ازموارد دیگر از جمله برخی اسناد و عکس های انتشار یافته برای بار نخست.

"طعم گیلاس" نوشته‌ی سعید عقیقی، تک‌نگاری‌ست که به بررسی یکی از مهم‌ترین فیلم‌های کارگردان بزرگ ایرانی، عباس کیارستمی، می‌پردازد. عقیقی یکی از برجسته‌ترین و بی‌تعارف‌ترین منتقدان سینمایی روزگار ماست و در این تک‌نگاری به بررسی فیلم موردنظر، همچنین به نگاهی به دیگر فیلم‌های کیارستمی می‌پردازد. او بر ضرورت نیاز به نقد و تحلیل دقیق فیلم‌ها تاکید دارد و نقد فیلم در نشریه‌های سینمایی را محدود می‌داند. کتاب "طعم گیلاس" با ارائه‌ی تحلیل‌های جذاب درباره‌ی آثار کیارستمی، یک راهنمای ارزشمند برای دوستداران هنر سینما و نقد فیلم محسوب می‌شود. 

The post-Partition cinema produced between 1956 and 1969-the long '60s-in Lahore, Pakistan, drew promiscuously from Hindu mythology, Bengali performance traditions, Islamicate legends, Sufi conceptions of the self, Punjabi and Sindhi oral narratives, Parsi theater, Urdu lyric poetry, historical and social realism, Hollywood musicals, the psychological and sensorial stimulus of modernity, and more. Consideration of this rich field of influence offers insights into not only the decade that led to the overthrow of the Ayub Khan government, followed in 1971 by the loss of Bangladesh, but also into cultural affiliation in the fraught South Asian present, when frameworks of multiplicity and plurality are in jeopardy. Urdu-language films from Lahore made during this period reveal ways that cinematic form and narrative intersect with cultural memory and with the challenges of their time, characterized by trauma in the aftermath of Partition in 1947, a constricted socio-political horizon, and accelerating modernity. In Lahore Cinema Iftikhar Dadi probes the role of language, rhetoric, and lyric in the making of meaning, and the relevance of the Urdu cultural universe to the genesis of Bombay filmmaking. He argues that commercial cinema in South Asia is among the most powerful vectors of social and aesthetic modernization. It has provided affective and imaginative resources for its audiences to navigate an accelerating modernity and a fraught politics by anchoring social change across the terrain of deeper cultural imaginaries. And it has played an influential progressive role during the mid-twentieth century, by constituting publics beyond existing social divides, in forging a shared and expanded experience of modernity that extends beyond regional, ethnic, and sectarian affiliations, and in affectively challenging the selective amnesia of nation-state ideologies.

Platon déjà avait entrepris de penser le rapport de l'image au réel, ouvrant la voie à une riche tradition spéculative : il le faisait, bien sûr, en philosophe. Ouvreur de chemins, arpenteur de formes, le cinéaste iranien Abbas Kiarostami - sans conteste un des artistes les plus importants de ces trente dernières années - n'a cessé dans son domaine de se confronter à cette problématique majeure. A l'origine sans nul doute de cet attachement au réel : les productions pédagogiques du jeune Kiarostarni dans le cadre du département de cinéma du Kanun, qu'il fonde en 1970 sous le régime du Shah et où il signe son premier court métrage, le Pain et la rue. Suivront une vingtaine de films de facture plutôt réaliste avant que l'Europe ne découvre Où est la maison de mon ami ?, premier volet d'une trilogie qui, avec Et la vie continue... et Au travers des oliviers, le hisse bientôt au rang international. Palme d'or pour le Goût de la cerise en 1997, Abbas Kiarostami se tourne ensuite vers les technologies numériques naissantes et signe deux films qui prouvent sa grande indépendance vis-à-vis du monde professionnel et son désir de liberté jamais entamé :ABCAfrica en 2001 et Ten en 2002, deux films où la question du réel se voit reformulée par l'entremise d'un dispositif réduit à l'essentiel. Ce volume réunit un ensemble de réflexions de spécialistes mondiaux de Kiarostami ; à la faveur de thématiques qui nous sont apparues essentielles (matière, présence, durée, humanité, paysage, jeu, désir), il entend poser la question prégnante du réel à l'œuvre dans le travail du cinéaste. Réel que les films mêmes de Kiarostami invitent à ne pas envisager de façon trop étroite : il est certes en question dans la difficulté de l'artiste à en définir l'essence, mais aussi dans sa difficulté à se dire, à laisser sa trace dans l'acte de création.

In recent years there has been a remarkable surge in Iranian films expressing contentious issues which would otherwise be very difficult to discuss publicly inside the Islamic Republic of Iran - such as the role of clergy in Iranian society. Nacim Pak-Shiraz here highlights how many Iranian film directors concern themselves with the content of the religious and historical narratives of culture and society, sparking debate about the medium's compatibility or incongruity with religion and spirituality. She explores the various ways that Shi'i discourse emerges on screen, and offers groundbreakin

A documentary-style film paints a portrait of contemporary Iran, as seen through the eyes of one woman as she drives through the streets of Tehran over a period of several days. Her journey is comprised of ten conversations with various female passengers -- including her sister, a hitchhiking prostitute and a jilted bride -- as well as her young son

"This thesis focuses on an analysis of Iranian filmmaker, Abbas Kiarostami, from an authorship study point-of-view."--Page [4] of printed paper wrapper

In this unique book, twelve of the most renowned and important filmmakers of contemporary Iran speak candidly about creating cinema in a revolutionised and traumatised society. They reflect on the Iranian revolution and the influence of its aftermath on their work, as well as the effects of their work on audiences worldwide. They offer first-hand insights into the influence they have had on the making of Iran's image; how the seeds of New Iranian Cinema were sown decades before the revolution and how these seeds grew into a cinema that became a global phenomenon, despite censorship, ideology wars, sanctions and political isolation; and how they took sustenance from the works of western and global cineastes as well as from the long tradition of art and poetry of Iran

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 i

This penetrating study of the Iranian filmmaker Abbas Kiarostami's life and work engages a cross-cultural dialogue between Mehrnaz Saeed-Vafa, an Iranian filmmaker, and Jonathan Rosenbaum, a film critic, both of whom have an intense interest in Kiarostami's work. A pioneer in Iranian cinema and considered one of the most controversial and influential filmmakers alive, Kiarostami has written or directed more than twenty films. He gained notoriety in the West in the 1990s with the breakaway films "Close-Up" and "Through the Olive Trees" and became the first Iranian director to win the Palme d'Or at the Cannes Film Festival for "Taste of Cherry". He is also largely credited for his contributions to the Iranian New Wave. Abbas Kiarostami is the first full-length, English-language study of his work. A unique and resplendent collaboration featuring two distinct but complementing perspectives, the book places Kiarostami and his films in a national context and provides American readers with valuable insights into Iranian culture, Kiarostami's portrayal of women and politics, and his influence on other filmmakers.

"Abbas Kiarostami's Cinema of Life focuses on this major filmmaker's opposition to war, his eclectic spirituality which opposes orthodox Islam, and the symbolic texture of his cinema which is more attuned to poetic than philosophical interpretation. It is one of only a few English language books on Kiarostami's films, and the only to cover the most-up-to-date films and consider the Iranian context of Kiarostami's films, with a focus on content and continuity of the individual films"-- Provided by publisher

In the wake of the 1979 Iranian Revolution, Iranian society and culture underwent massive changes. Here, Khatereh Sheibani argues that cinema evolved after the national uprising in 1978/79, and ultimately replaced poetry as the dominant form of cultural expression. She 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. She examines the pre-revolutionary film industry - such as Iranian new wave and filmfarsi movies - its styles a

Annotation Despite critical acclaim and a recent surge of popularity with Western audiences, Iranian cinema has been the subject of lamentably few academic studiesand those have by and large been limited to the films and filmmakers most visible on the international film circuit. Iranian Cinema and Globalizationseeks to broaden readers exposure to other dimensions of Iranian cinema, including the works of the many prolific filmmakers whose films have received little outside attention despite being widely popular within Iran. Combining theories of globalization and national cinema with in-depth, interdisciplinary analyses of individual films, this volume expands the current literature on Iranian cinema with insights into the social, and religious political contexts involved

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.

Este libro propone una visión general sobre la cinematografía iraní y constituye la primera publicación en español de textos científicos por autores iraníes y españoles. El lector podrá aproximarse a temas vertebrales de la cultura cinematográfica de Irán, que abarcan desde aspectos relacionados con la evolución histórica del cine o de la música para la pantalla, hasta estudios sobre los personajes y análisis de películas emblemáticas como ¿Dónde está la casa de mi amigo?, El color del paraíso o Nader y Simin, una separación, todo ello acompañado de unas profusas bibliografías y filmografías, así como de entrevistas y diversos materiales gráficos.

La découverte des premiers films d'Abbas Kiarostami tels que Où est la maison de mon ami ? (1987) fut l'objet d'un engouement immédiat d'une part importante de la critique occidentale qui s'empressa de souligner la parenté de son œuvre avec le Néoréalisme italien. Dans le même temps, force était de constater que l'esthétique et le récit des films de Kiarostami révélaient des influences de la culture iranienne ancestrale telles que la miniature persane et les poèmes mystiques. Ainsi, d'emblée, l'œuvre se présentait comme située à la croisée de plusieurs chemins, géographiques, esthétiques et historiques complexes à articuler. Les films plus récents tels que Le Goût de la cerise (1997), Le Vent nous emportera (1999) ou Ten (2002) ont encore enrichi cette problématique de par l'épure de leur stylistique et l'évolution du dispositif (avec, notamment pour Ten, le recours à la vidéo digitale grand public), recoupant des questions essentielles concernant le cinéma contemporain (perte d'aura, maniérisme, minimalisme, place du spectateur). Cette étude des lignes de force de l'œuvre d'Abbas Kiarostami prise sous ses multiples facettes (films, vidéos, installations, poèmes, opéra) est traversée par un double objectif : tenter d'en saisir, sous l'apparent dépouillement, la complexité cachée en prenant en compte la manière dont elle s'inscrit dans un contexte particulier - l'Iran d'avant et après la prise de pouvoir par les Mollahs en 1979 - qui l'amène à inventer une subtile logique de contournement de la censure. Elle offre aussi l'occasion de remettre à l'ouvrage la notion même de modernité dans une perspective plus vaste suscitée par l'œuvre elle-même, incluant les champs de l'art et de la philosophie

Una volta Jean-Luc Godard disse che il cinema comincia con Griffith e finisce con Kiarostami. Questo libro, dedicato all’opera del regista iraniano, si propone di fornire alcuni percorsi d’analisi dei suoi film e delle sue videoinstallazioni, evidenziando anche alcuni tratti essenziali della sua produzione fotografica. L’intento principale è quello di far risaltare la portata intermediale dell’opera di questo autore e la complessità del discorso sulla visualità che a essa soggiace.Le traiettorie proposte all’interno del libro strutturano un’indagine di tipo non lineare (sul piano cronologico) e individuano alcuni snodi fondamentali nel percorso artistico di Kiarostami, selezionando alcune delle sue opere e tornando più volte su di esse per interrogarle alla luce di prospettive d’analisi differenti. Questo metodo consente di far emergere la forte coerenza interna che caratterizza la produzione del regista – che si dipana lungo un arco di oltre quarant’anni – e, contemporaneamente, di portare alla luce l’esigenza di una continua reinvenzione formale che investe tanto lo stile quanto le modalità d’esposizione delle opere.Dai film per la sala, alle videoinstallazioni, alle fotografie, fino a una non convenzionale forma di interazione tra video e teatro: le forme dell’immagine kiarostamiana si modificano e interferiscono tra loro per dar vita a un percorso autoriale eterogeneo ma straordinariamente coerente.

"In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture"--Publisher's Web site

This book offers a valuable and diverse set of essays on Iranian cinema. The theme on which Wittmann and Holl base the collection facilitates the diversity: the contributors provide different perspectives on how Michel Foucault’s concept of “counter-memory” can be mobilized to understand the country’s films. Although the volume makes no attempt at a single argument, the chapters together demonstrate ways in which filmmaking in Iran has questioned and challenged cultural and political narrativ..

"In Iran, marriage has been crucial to the establishment of the family as a fundamental unit of society. Religiously speaking, marriage is a fundamental aspect of Islam, the dominant religion in Iran. The Quran abounds in verses describing the genesis of life based on love, sex, and procreation. However, sexuality can also impinge directly on the social order and thus must be regulated through marriage. In the case of Iranian women, according to Soraya Tremayne, marriage is especially "fundamental to the social identity of all women, regardless of their achievements in other spheres of life, and pressure on women to marry persists." This pressure stems from the patriarchal system in which women gain social status through their relationship with a man. Before marriage, social identity is granted through the connection of a woman with her father or legal guardian. After marriage, her status derives from a woman's relationship with her husband. Such relationships relegate women to the domain of spouse, mother, and daughter. Women are defined in the context of their relationships with their men and therefore remain in the shadows. Hence, women are considered extensions of the men in their family, whose responsibility it is to police these women's sexuality. This type of power structure is why unmarried, divorced, or widowed women pose a threat to the social order of a community, due to their alleged unbridled sexuality. Therefore, sigheh (temporary) marriages are mainly encouraged for unmarried, divorced, or widowed women in an effort to keep them sexually satisfied/controlled"-- Provided by publisher

La obra de Dariush Mehryui es especialmente importante por su estrecha vinculación con las realidades sociales de Irán a lo largo de los últimos 40 años. El estudio de su obra, para un observador lejano, será como una oportunidad para conocer las manifestaciones del espíritu de esta nación. Usado-NUEVO 40 AÑOS DE CINE IRANI

The brief, often breezy essays, reminiscences, reportage and interviews overturn the facile image of Iran as a single, homogenous entity, providing animated discussions of politics, sex, art, women's rights, racism, poetic culture, underground nightlife, Tehran's Jewish community, censorship, economic inequality and cross-cultural (mis)understanding under a regime that is highly oppressive but continually subverted

Following the 1979 Iranian Revolution, in order to conform with the Islamic Republic's system of modesty, Iran's film industry was required to ensure that Iranian women who appeared on-screen were veiled from the view of men, both on-screen and off. This prohibition prevented Iranian filmmakers from relying on the desiring gaze, a staple cinematic system of looking. In "Displaced Allegories", Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found new creative ground not in the negation of government regulations but in the camera's adoption of the modest, averted gaze. The filmic techniques and cinematic technologies were gendered feminine in the process; the national cinema was produced as a woman's cinema. Mottahedeh asserts that, in response to the prohibitions against the desiring look, a new narrative cinema emerged as the displaced allegory of the constraints on the post-Revolutionary Iranian film industry. Allegorical commentary was not developed in the explicit content of cinematic narratives but through formal innovations. Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza'I, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post-Revolutionary Iranian films. She insists that such analyses of cinema's visual codes and conventions are crucial to the study of international film. As Mottahedeh points out, the discipline of film studies has traditionally seen film as a medium that communicates globally because of its dependence on a (Hollywood) visual language assumed to be universal and legible across national boundaries."Displaced Allegories" demonstrates that visual language is not necessarily universal; it is sometimes deeply informed by national culture and politics

"Until recent years Iranian cinema was relatively unknown. Even now, in spite of international award-winning productions, it is under-exposed relative to films from other countries. This volume examines Iranian cinema before and after the Islamic Revolution of 1979"--Provided by publisher

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, Egan 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. From publisher description