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Description
Created at the intersection of religion and ever-shifting political, economic, and social environments, Iranian cinema produces some of the most critically lauded films in the world today. The first volume of the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points, and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, new wave, war film, art house film, and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema, and fans and aficionados of Iranian film.
Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.
Praise for the first volume
“Successfully maps the long history of creativity, intellectualism and imagination of Iran. This book makes an important contribution to the area of Iranian cinema and film and is recommended to those who want to know more about Iran and its extraordinary cinema.”—Arezou Zalipour, Media International Australia
Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.
Praise for the first volume
“Successfully maps the long history of creativity, intellectualism and imagination of Iran. This book makes an important contribution to the area of Iranian cinema and film and is recommended to those who want to know more about Iran and its extraordinary cinema.”—Arezou Zalipour, Media International Australia
Introduction by the Editor
Film of the Year: The Last Step/Pele-ye Akhar
Spotlight
Tales Is My Will and Testament: Interview with Rakhshan Bani-Etemad
Directors
Farrokh Ghaffari
Bahram Baizai
Sohrab Shahid-Sales
Amir Naderi
Rakhshan Bani-Etemad
Majid Majidi
Asghar Farhadi
Documentary Tradition
Contemporary Social Drama
Crime Thriller
Iranian Animation
Iranian Comedies
Political Films
Underground Films
Diasporic Cinema
The Image of Women
Sujets
Informations
| Publié par | Intellect Books |
| Date de parution | 01 mars 2017 |
| Nombre de lectures | 3 |
| EAN13 | 9781783204717 |
| Langue | English |
| Poids de l'ouvrage | 7 Mo |
Informations légales : prix de location à la page 0,2800€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.
Extrait
DIRECTORY OF WORLDCINEMA
EDITED BY PARVIZ JAHED
IRAN2
Volume 35
dIrectory of worLd cInema Iran 2
Edîted by Parvîz Jahed
intellect Brîsto, UK / Chîcago, USA
Fîrst pubîshed în the UK în 2017 by Inteect Books, The Mî, Parna Road, Fîshponds, Brîsto, BS16 3JG, UK
Fîrst pubîshed în the USA în 2017 by Inteect Books, The Unîversîty of Chîcago Press, 1427 E. 60th Street, Chîcago, IL 60637, USA
Copyrîght © 2017 Inteect Ltd
A rîghts reserved. No part of thîs pubîcatîon may be reproduced, stored în a retrîeva system, or transmîtted, în any form or by any means, eectronîc, mechanîca, photocopyîng, recordîng, or otherwîse, wîthout wrîtten permîssîon.
A cataogue record for thîs book îs avaîabe from the Brîtîsh Lîbrary.
Pubîsher: May Yao Pubîshîng Managers: Jeena Stanovnîk & Matt Greenied
Cover photograph:The Last Step(Aî Mosaffa, 2012). Road Movîe Productîons Copy-edîtor: Emma Rhys Cover desîgner: Emîy Dunn Typesetter: John Teehan
Dîrectory of Word Cînema ISSN 2040-7971 Dîrectory of Word Cînema eISSN 2040-798X
Dîrectory of Word Cînema: Iran 2 ISBN 978-1-78320-470-0 Dîrectory of Word Cînema: Iran 2 ePDF ISBN 978-1-78320-471-7
Prînted and bound by Short Run Press, UK.
Thîs îs a peer-revîewed pubîcatîon.
contents
dIrectory of worLd cInema Iran 2
aCKNOWEDgEMENTS
INTRODuCTîON BY THE eDîTOR
5
6
fîM OF THE yEàR 12 The Last Step/Pee-ye Akhar
spOTîgHT TaesIs My Wî and Testament: Intervîew wîth Rakhshan Banî-Etemad
dîRECTORS Farrokh Ghaffarî Bahram Baîzaî Sohrab Shahîd-Saes Amîr Naderî Rakhshan Banî-Etemad Majîd Majîdî Asghar Farhadî
dOCuMENTàRY tRàDîTîON Essays Revîews
cONTEMpORàRY sOCîà dRàMà Essay Revîews
cRîME tHRîER Essay Revîews
17
24
86
132
176
IRàNîàN cOMEDîES Essay Revîews
POîTîCà fîMS Essay Revîews
UNDERgROuND fîMS Essay Revîews
dîàSpORîC cîNEMà Essays Revîews
tHE IMàgE OF wOMEN Essay Revîews
rECOMMENDED rEàDîNg
IRàNîàN cîNEMà oNîNE
262
296
326
352
384
424
428
nOTES ON cONTRîBuTORS 431
fîMOgRàpHY
436
IRàNîàN aNîMàTîON 228 Essay Revîews contents
Dîrectory of Word Cînema
acknowLedGements
Dîrectory of Word Cînema
Thîs voume îs beîng pubîshed at a tîme when Masoud Yazdanî, the founder and pubîsher of Inteect, has passed on and eft us în deep sorrow and agony. He was a truy remarkabe man wîth a deep passîon for, and commîtment to im, and the study of ît. Though ît îs most regrettabe that Masoud was not abe to see thîs book’s reease before hîs untîmey passîng, I can ony hope that the outcome în some way relects the dedîcatîon and enthusîasm he had, for Iranîan cînema în partîcuar. Hîs encouragement and the unforgettabe kîndness he has shown me are the reasons thîs whoe project was ever possîbe. I can thînk of no better way to show our gratîtude to hîm than for everyone at Inteect, and a those who shared Masoud’s enthusîasm for thîs art form and thîs wonderfu project, to contînue hîs efforts and keep hîs spîrît aîve în our work as we as în our hearts and mînds. I’d îke to express my gratîtude to every author who has contrîbuted to thîs voume; undeterred by theîr busy schedues and engagements, a have strîved to produce thoughtfu and însîghtfu wrîtîng whîch I am proud to present în thîs voume. I’d aso extend my sîncere gratîtude to Emma Rhys for her consîderate and dîîgent edîtîng and support. I woud aso îke to thank my son, Barbod Jahed, for hîs învauabe work în transatîng the artîces from theîr orîgîna Persîan înto Engîsh and hîs edîtîng of other artîces and transatîons. Fînay, I woud îke to thank Matt Greenied and Jeena Stanovnîk, the Productîon Edîtors, and Heather Gîbson, the former Productîon Edîtor at Inteect for theîr exceent support and encouragement.
Acknowedgements5 acknowLedGements
Dîrectory of Word Cînema
6Iran 2
IntrodUctIon by the edItor
The irst voume of theDîrectory ofWord Cînema: Iranturned the spotîght onto Iranîan cînema, wîth our attentîon permeatîng through îts major movements, genres, hîstorîca turnîng poînts and promînent igures that have heped to deine and characterîze ît. Buîdîng upon the momentum of îts predecessor,Dîrectory of Word Cînema: Iran 2îs bound to be wecomed by a seekîng an up-to-date and extensîve guîde to Iranîan cînema. In the second voume, the scope has been broadened to contaîn the genres of poîtîca cînema, socîa drama, comedy, crîme thrîer, anîmatîon im, documentary im, underground cînema, the îmage of women and dîasporîc im, some of whîch have mosty remaîned underexpored în the Engîsh anguage texts hîtherto. In order to buîd a fuer îmage and be abe to characterîze Iranîan cînema, thîs book trîes to map out the obscure and uncharted corners of thîs cînema, and expound the sîgnîicance of these im styes, trends, genres and creatîve voîces. Ony a short whîe after the pubîcatîon of the ast voume, a number of pîvota events occurred wîthîn Iranîan cînema. Most notaby, Asghar Farhadî’s (whose im Darbare Ey/About Ey[2009] was hîghîghted în the irst voume)Jodaeî-ye Nader az Sîmîn/A Separatîon(2011) won the 2012 Oscar for Best Foreîgn Language Fîm. A irst for an Iranîan im, ît was aso nomînated for Best Orîgîna Screenpay. A Separatîonîs a powerfu dramatîc pîece relectîng on the conlîcts of a mîdde-cass famîy în Iran wîth a fresh approach and stye. The im was met wîth unîversa accaîm by im crîtîcs around the word, whîst markîng a departure from the quîet and uneventfu word of Kîarostamî or the more exotîc ims of Bahman Ghobadî, Majîd Majîdî and Abofaz Jaîî, who had prevîousy garnered crîtîca attentîon on an înternatîona scae. A type of naturaîstîc socîa drama, thîs major genre of Iranîan cînema îs dîscussed în detaî în Aî Moosavî’s artîce în thîs voume, as are îts we-known practîtîoners în Iranîan cînema, such as Jafar Panahî and Rakhshan Banî-Etemad and Kîanoush Ayarî. Despîte the current inancîa crîsîs and ever-present state-împosed restrîctîons and obstaces, cînema remaîns a thrîvîng commercîa- and cuturay sîgnîicant îndustry însîde the country. A im îkeA Separatîonîs stî abe to reach a arge audîence în Iran. It was a crîtîca and inancîa trîumph for Iranîan îndependent cînema but, as îs often the unfortunate case, ît was not acknowedged by the Iranîan im authorîtîes. Havîng found îts socîa-crîtîcîsm content too subversîve, the im was amost brought to a hat durîng productîon, wîth Farhadî havîng to negotîate wîth the state to remove the ban împosed on hîs im-makîng. He and im-makers îke hîm are hîghy tactfu în theîr handîng of state contro over theîr work, and capabe of usîng a varîety of toos and strategîes avaîabe to them to cîrcumvent censorshîp wîthout dîmînîshîng the overa themes, messages or styîstîc merîts of the ina output. Nevertheess, thîs frustratîng process eft Farhadî exhausted by im-makîng în Iran and, wîth the support of French productîon company MK2, he moved to France to make hîs next im.Le Passé/The Past(2013), starrîng Bérénîce Bejo, Tahar Rahîm and
Dîrectory of Word Cînema
Aî Mossaffa, was a contender for the Pame d’Or at the 2013 Cannes Fîm Festîva. Bérénîce Bejo won the Best Actress Award at Cannes for her performance în the im. In 2007, Darîush Mehrjuî’s imSantourî(2007) – awarded wîth the Audîence Choîce Prîze at the Fajr Fîm Festîva of that year – was banned from pubîc screenîng by the Mînîster of Cuture and Isamîc Guîdance Saffar Harandî. Thîs move was îndîcatîve of thîngs to come under the presîdency of Mahmoud Ahmadînejad. Mahmoud Ahmadînejad’s eîght-year reîgn saw red înes abound, wîth a surge of censorshîp, bans, pressure and restrîctîons paced upon im-makers reachîng a dîsîusîonîng eve. Meanwhîe, state-supported arge-scae projects, wîth reîgîous and patrîotîc motîfs – known asCînema-ye Fakher(îteray transated as ‘Subîme Cînema’) – were beîng made at an ampîied rate. These productîons range from epîcs that depîcted the hîstory of ancîent Isamîc igures, such as Majîd Majîdî’sMohammad(2015) and Ahmad Reza Darvîsh’sRastakhîz/Husseîn Who Saîd No(2014), to ims about the Iran–Iraq War whîch gorîfy the îdea of martyrdom and mythoogîze the sodîers. After the 2009 notorîous presîdentîa eectîon, whîst eadîng im-makers such as Jafar Panahî or Mohammad Rasouof had been prohîbîted from makîng ims, Ahmadînejad’s government supported the makîng of bîg-budget propaganda ims, such asGhaadeh-haye Taa/The Goden Coars(2012) by Aboghasem Taebî, to grant îtsef the îcence to re-înterpret the poîtîca events and the Green Movement (Jonbesh Sabz) that occurred after the eectîons. In December 2011, Khaneh Cînema (House of Fîm), a natîona guîd for im-makers and others învoved în the productîon, dîstrîbutîon and screenîng stage, had îts doors forced shut and Sazeman-e Cînemayee (Cînema Organîzatîon), a repacement body for Cînema Affaîrs of the Mînîstry of Cuture and Isamîc Guîdance, was put up by the state to take îts pace and enabe them to pace further contros upon the îndustry. The sîtuatîon was ookîng ever beaker for îndependent im-makers. In 2013, wîth the eectîon of Hassan Rohanî, a more moderate cerîc, came efforts în the rîght dîrectîon to create a reatîvey more open atmosphere. Among hîs irst decrees was the reopenîng of Khaneh Cînema, and the screenîng of ims such as Rakhshan Banî-Etemad’sGheseha/Taes(2014) and Kîanoush Ayarî’sKhane Pedarî/ Paterna House(2012), both of whîch had been banned under Ahmadînejad. Thîs heped restore some hope and more workabe reatîons between im-makers and the country. Some of those who had been forced to put theîr crafts asîde were învîted to recommence, athough certaîn im-makers îke Jafar Panahî and Mohammad Rasouof are stî egay banned from theîr practîce. Yet Panahî proved hîmsef undeterred yet agaîn, makîng another sef-portraya entîtedTaxî Tehran(2015) – the im îs contaîned wîthîn a taxî, drîven by hîmsef as he înteracts wîth passengers – and he sent ît to the Berîn Fîm Festîva and secured the Goden Bear. Lîke hîs prevîous endeavour, thîs was a im essay crîtîca of hîs own sîtuatîon and the socîeta condîtîons of modern Iran and of censorshîp.
Introductîon7
Dîrectory of Word Cînema
8Iran 2
Naturay, such actîons do not sît we wîth some of the hardîners who are tryîng theîr utmost to restore the prevîous state’s restrîctîons and are obbyîng agaînst certaîn poîcîes and ims. They want to revert the gradua easîng of pressure and see a return to the worst days of post-revoutîonary contro. In thîs ater perîod, we saw a reductîon of ims beîng made în certaîn genres, such as crîme cînema, and a compete dîssoutîon of other genres and trends such as Fîm Farsî (încudîng genres such as ‘Jaheî’, the rura meodrama, and the îke), whîst both fresh and famîîar genres such as poîtîca, war, romance and socîa dramas and experîmenta ims took hod on a grand scae. So whîe the irst voume of the dîrectory deat prîmarîy wîth the pre-revoutîonary genres and trends în Iranîan cînema, în the second voume we draw our attentîon to post-revoutîonary cînema, ookîng maîny at the most recent productîons by the newy emerged and young generatîon of Iranîan im-makers, such as Aî Mosaffa, Majîd Barzegar, Abdoreza Kahanî, Mohammad Rasouof, Reza Dormîshîan, Shahram Mokrî and Nîkî Karîmî, who has made a transîtîon to ow-budget, îndependent ims after her engthy, successfu career as a im star în Iranîan cînema. And, as îs aways the case, our contrîbutors consîst of a range of oca and înternatîona im schoars, researchers and crîtîcs who are a passîonatey famîîar wîth Iranîan cînema, îts mechanîsms of im productîon and îts codes of practîce. The maînstream îs covered wîth the same attentîon to detaî as the arthouse, and the domestîc and goba receptîon are encompassed. In hîs artîce on the poîtîca genre în Iranîan cînema, Saeed Zeydabadî-Nejad deves înto the reatîonshîp between poîtîcs and cînema. Specîicay, on how the two înternatîonay known îndependent im-makers, Abbas Kîarostamî and Mohsen Makhmabaf, manage to work wîthîn the system and overcome government-împosed hurdes. Zeydabadî-Nejad refers to responses gîven by these two im-makers at întervîews and Q&A sessîons durîng screenîngs of theîr ims abroad. Fîms deaîng overty wîth poîtîcs were quîte uncommon before the Isamîc Revoutîon, due to the heavy poîtîca censorshîp of the Shah. Apart from the poîtîca messages contaîned wîthîn New Wave ims, whîch were deîvered împîcîty, we can hardy ind any poîtîca ims în pre-revoutîonary Iranîan cînema. Fîms such as Asrar-e Ganj-e Darre-ye Jennî/The Secrets of the Treasure of the JînnVaey(Ebrahîm Goestan, 1974),Saye-h Haye Boand-e Baad/The Ta Shadows of the Wînd(Bahman Farmanara, 1978),OK Mîster(Parvîz Kîmîavî, 1979),Gavaznha/The Deer(Masoud Kîmîaî, 1973) andAramesh Dar Hozor-e Dîgaran/The Tranquîîty în the Presence of Others(Naser Taghvaeî, 1968) that addressed poîtîca îssues în Iran were banned or heavîy censored by the Shah’s government. After the revoutîon, the poîtîca sîtuatîon and overa sentîment wîthîn socîety aowed for such ims to take hod. Every im-maker who wanted to make ims about the prevîous regîme and îts suppressîve system was supported by the new revoutîonary government yet, save for a few exceptîons –Khat-e Ghermez/The Red Lîne(Masoud Kîmîaî, 1982),Ashbah/The Ghosts(Reza Mîrouhî, 1982) andNoghte-ye Zaaf/Weak Poînt(Mohammad Reza Aamî, 1982) – most of these productîons were supericîa and fu of poîtîca rhetorîc agaînst the Shah and hîs secret poîce (SAVAK), and în favour of the new government în keepîng wîth the poîtîca cîmate whîch had yet to take îts true form. Wîth the estabîshment of the Isamîc government and the împosîtîon of new measures of censorshîp, ît was too dîficut for im-makers to address poîtîca matters and chaenge the poîtîca status quo în Iran în theîr ims. A poîtîca im such as Mohsen Makhmabaf’sShab Haye Zayandeh Rood/The Nîghts of Zayandeh Rood(1991) woud be banned and the dîrector forced înto exîe. Others îke Mohammad Rasouof who chose to remaîn în Iran were împrîsoned or had theîr passports
Dîrectory of Word Cînema
coniscated. In a socîety where freedom of expressîon îs under extreme pressure and crîtîcîsm of the prevaîîng power woud gravey endanger the person crîtîcîzîng, no producer woud be wîîng to take on the rîsk of addressîng such sensîtîve, crîtîca îssues. Even the prîvate im companîes whîch beneit from state resources tend not to seek învovement în thîs genre of im-makîng. The government sponsors the productîon of most movîes wîth the requîrement that the scrîpt and the cast be presented to the Mînîstry of Cuture for approva. There îs a ega procedure that dîrectors must go through before gettîng the necessary îcence and permîssîon and theîr productîon must meet these requîrements îf they are to stand a chance of competîon. Amost every im that îs made, încudîng those that woud be consîdered îndependent, are stî reîant on the inancîa and ogîstîc support of government înstîtutîons and organîzatîons, such as the Isamîc Repubîc of Iran Broadcastîng (IRIB); the Farabî Fîm Foundatîon; Kanoon, the Instîtute for the Inteectua Deveopment of Chîdren and Young Aduts (IDCYA); the Documentary and Experîmenta Fîm Centre; and the im sectîon of the Iranîan Revoutîonary Guards. For a im-maker to competey avoîd the machînatîons of and afiîatîon wîth thîs system, they must go underground. In my artîce on underground cînema în Iran, I proie the deveopment of a new trend of guerrîa im-makîng în Iran that has taken shape as a consequence of Iranîan im-makers’ cîvî dîsobedîence and refusa to adhere to the rues dîctated by the Iranîan im authorîtîes. It embraces a body of work that represents a margîn of Iranîan cînema whîch îs beîng made wîthout the requîred authorîzatîon or inancîa and technîca support of the government. In my argument, Iranîan underground ims more cosey resembe the candestîne movîes made durîng the Spanîsh Cîvî War under the Franco dîctatorshîp than the experîmenta ims made by the Amerîcan underground im-makers of the 1960s and 1970s. There îs no argument that îndependent im-makers în Iran have aways been subject to censorshîp and întense pressure from the authorîtîes. The Iranîan government perîodîcay reasserts îts contro by makîng arrests and punîshîng im-makers who have vîoated theîr rues wîth prîson sentences and bans to set an exampe for others. However, underground im-makîng aways manages to persevere to some extent and achîeve recognîtîon for îndependent Iranîan cînema on an înternatîona scae. I pay partîcuar heed to how the process has been democratîzed and underground im-makers greaty emancîpated by current dîgîta technoogy and new medîa, enabîng dîrectors such as Jafar Panahî to more easîy chaenge the hegemonîc forces of the Iranîan state. InIn Fîm Nîst/Thîs Is Not A Fîm(2011), Panahî uses dîgîta cameras and a mobîe phone to bypass the reguatîons on im-makîng. Even though he has been put under house arrest and îs awaîtîng a verdîct on hîs appea of a sîx-year prîson sentence and im ban, he managed to put out a im seen throughout the word. Arguaby the most negected genre în Iranîan im studîes îs anîmatîon, not ony în the West but aso însîde Iran. Despîte îts steady growth în the ast ifteen years, there has been undeservedy îtte academîc attentîon paîd to Iranîan anîmatîon. Therefore, Fatemeh Hosseînî-Shakîb’s artîce on thîs topîc can be regarded as a rare and much needed învestîgatîon of the genre. Startîng în 1958 wîth a mere two-seconds ong anîmatîon (Muah Nasreddîn, by Esfandîar Ahmdîeh), marked the bîrth of thîs movement at the then Mînîstry of Art and Cuture to the present day. Fatemeh shows how the Instîtute for the Inteectua Deveopment of Chîdren and Young Aduts (IDCYA) (shortened to Kanoon) was estabîshed în 1965 by Farah Pahavî, the wîfe of the ate Shah, and measures îts great împact on the deveopment
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