Khodahafezi farhad majidi biography
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The 10th Resistance Film Festival was held after a three-year gap from the 9th. While the festival was traditionally held every two years, it apparently became a triennial event in the 10th season, and was held with a one-year delay, in December 2005. The 10th season of the Resistance Film Festival also saw a change in the “director”; Mohammad Reza Sharafeddin, who was known as a producer and special effects director in cinema, was the director of this event. Apparently, the change in the director did not give the 10th Resistance Film Festival any special prominence compared to its previous edition.
۱۴ works from Iranian cinema were screened during this period, with films such as “The Madman Has Escaped the Cage,” “Gilaneh,” and “Duel” being among the most famous and enduring. Also, works such as “Naghmeh,” “Ishk Sarma,” or “Khodahafez Rafiq” by Abolghasem Talebi, Azizollah Hamidnejad, and Behzad Behzadpour also had a fresh look at war cinema in terms of form and content.
From thi
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The New Wave Cinema in Iran: A Critical Study 9781501369124, 9781501369087, 9781501369100
Table of contents : • The cinema of Iran (Persian: سینمای ایران), or of Persia, refers to the film industry in Iran. In particular, Iranian art films have garnered international recognition.[4] Iranian films are usually written and spoken in the Persian language.[5] Iran has been lauded as one of the best exporters of cinema in the 1990s.[6] Some critics now rank Iran as the world's most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades.[4] A range of international film festivals have honoured Iranian cinema in the last twenty years. Many film critics from around the world have praised Iranian cinema as one of the world's most important ar
Cover
Contents
List of figures
Acknowledgements
Introduction
1 The Iranian New Wave (Mowj-e No)
Recognition of and challenging Mowj-e No
2 The internal factors
Cinema and the negotiation of modernity in Iran
The emergence of national cinema
Nativism vs. Westoxication (Gharbzadegi)
The enablement and obstructionism of the state
The mechanisms of censorship
The establishment of cultural institutions and film centres
3 Looking for an alternative cinema in Iran
ställning eller tillstånd of critical film discourse in 1960s Iran
Intellectual cinema and challenging Filmfarsi
Mowj-e No, the lost identity and manifestation of utopian cinema
4 New Wave and the literary tradition
Adaptation from Persian classical literature
Later fantasy and folktales
Interaction between Mowj-e No and modern literature
5 The external influences
The footprint of Italian neorealism
The global impact of Cinema of Iran
Cinema of Iran No. of screens 596 (2018)[1] • Per capita 0.7 per 100,000 (2018) Total 200 Total 28,537,410 National films 28,514,921 Total $23.8 million