List of Persian/Iranian Events for 2007-11-20

    Forough's KHANEH SIAH AST and Mehrjui's GAAV

    New York Tuesday - November 20, 2007     06:30 PM

    Alwan for the Arts and 3rd i Collaborative Monthly Series Presents:



    Masters and Masterpieces of Iranian Cinema: Book Discussion and

    Signing with Hamid Dabashi



    And Screening of



    The House Is Black (Khaneh Siah Ast) by Forugh Farrokhzad/ Iran/

    1964/ 22 min

    The Cow (Gaav) by Dariush Mehrjui/ Iran/ 1969/100 min



    Tuesday, November 20, 2007. 6:30 PM Two Boots Pioneer Theater

    155 East 3rd Street (at Avenue A)

    Subway: F to 2nd Ave; 6 to Bleecker

    Tickets: $10 Adults / $6.50 Pioneer Members



    The House Is Black by Forugh Farrokhzad/ Iran/ 1962/ 22 min/ Farsi

    with English Subtitles



    A classic in Iranian New Wave filmmaking from poet/ director Forugh

    Farrokhzad presents a haunting and sympathetic examination of life in

    a Tabriz leper colony. Through powerful imagery and a striking voice-

    over by Farrokhzad, a startling glimpse into a hidden aspect of

    humanity is revealed. A film of staggering force, lyrically composed

    by one of the 20th century's leading poets, The House Is Black is a

    revelation. In the 1960s, poet Forough Farrokhzad directed her first

    and only film. It depicts the lives and bodies of people tragically

    deformed by leprosy. This is a film of stirring and powerful images,

    and a beautifully tragic poetic narration. The House Is Black has

    heavily influenced the modern Iranian cinema of such great filmmakers

    as Abbas Kiarostami and Mohsen Makhmalbaf, who called it "the best

    Iranian film." It provides, in the film's own words, "a vision of

    pain no caring human being should ignore."



    Forugh Farrokhzad (1935-1967) was born in Tehran into a middle class

    family of seven children. Author of several volumes of poetry that

    are hallmarks of contemporary Persian literature. In 1967 she

    tragically died in a car accident. She was associated with the film

    industry in Iran through the filmmaker Ebrahim Golestan, House is

    Black is the only film she directed.



    The Cow by Dariush Mehrjui/ Iran/ 1969/100 min Farsi with English

    Subtitles



    This highly symbolic Iranian drama (shot in black-and-white) revolves

    around the most important figure in a remote rural village. That

    figure is the village's sole cow, owned by Mashdi Hassan (Ezat

    Entezani). The beginning of the film makes clear just how vital the

    cow is to the life of the village and how much Mashdi and his

    neighbors cherish it. When the cow is threatened and then killed by

    members of a nearby clan, Mashdi becomes so distraught that he is

    gradually transformed into a cow himself.



    The Cow (Gaw), Dariush Mehrjui/'s second feature brought him national

    and international recognition and it is one of the films that

    signalled the emergence of Iranian New Cinema. The Cow was among the

    very first projects to receives state funding, however, it was banned

    by the Shah's censors for the dark images of Iranian rural society.

    The film was smuggled to 1971 Venice Film Festival and not officially

    in the festival's program and unsubtitled, it turned out to be the

    event of festival that year. The Cow received the Critics' Award in

    Venice and toured the festival circuit the world over.



    Dariush Mehrjui was born on December 8, 1939 in Tehran. As a child,

    he was deeply involved in music and painting, playing piano and

    santoor and drawing miniatures. In 1959, he left for California to

    study cinema with Renoir but then he switched to Philosophy and

    graduated from UCLA in 1964 and became one Iran's most influential

    directors, with more than 20 films to his credit.



    Masters and Masterpieces of Iranian Cinema by Hamid Dabashi/ Mage

    Publishers/ 456 Pages/ 2007



    The rise of Iranian cinema to world prominence over the last few

    decades is one of the most fascinating cultural stories of our time.

    There is scarcely an international film festival anywhere that does

    not honor the aesthetic and political explorations of Iranian

    artists. Masters & Masterpieces of Iranian Cinema celebrates this

    remarkable emergence. It focuses on twelve of the most important

    Iranian filmmakers of the past half-century—among them, such pioneers

    as Forugh Farrokhzad, Dariush Mehrjui, Abbas Kiarostami, and Jafar

    Panahi. In his examination of their lives and their greatest works,

    Hamid Dabashi explains how, despite the censorship of both the

    Pahlavi monarchy and the Islamic Republic, the creativity of these

    filmmakers has transcended national and cultural borders. His account

    traces the ascendancy of Iranian cinema in modern Iranian

    intellectual history and also probes its links to Persian poetry,

    fiction, art, and philosophy.



    In Europe and in North America, in Asia and in Latin America, in

    Australia and Africa, the thematic and narrative richness of Iranian

    cinema has met with tremendous acclaim. Indeed, its particular modes

    of realism—building on such cinematic antecedents as Italian, French

    and German neorealism—have become truly transnational, contributing a

    new visual vocabulary to filmmaking everywhere. Masters &

    Masterpieces of Iranian Cinema studies the role that prominent film

    festivals have played in fostering the global success of Iranian

    cinema, and investigates the reception of these films within Iran, an

    intriguing story in its own right. This is a book that will reward

    not only the scholar and the film aficionado but also anyone

    interested in the cultural history of modern Iran.



    Hamid Dabashi is the Hagop Kevorkian Professor of Iranian Studies and

    Comparative Literature at Columbia University in New York, the oldest

    and most prestigious Chair in Iranian Studies. Professor Dabashi has

    written 12 critically acclaimed books, edited 4, and contributed

    chapters to many more. He is also the author of over 100 essays,

    articles and book reviews in major scholarly and peer reviewed

    journals on subjects ranging from Iranian Studies, Shi'ism, Medieval

    and Modern Islamic Intellectual History, Comparative Literature,

    World Cinema, Trans-aesthetics, Trans-national Art, Philosophy,

    Mysticism, Theology, Post-colonial Theory and Cultural Studies.



    Reviews:



    Iran's cinematic evolution, before and after the revolution of 1979,

    is as rich as any country's; however, despite boasting numerous film

    awards and international critical acclaim, the country's output

    remains relatively unknown—even to cineastes. "What is Iranian

    cinema?" is as logical a question as "Why is it underexposed?" This

    book by Dabashi (Iranian studies & comparative literature, Columbia

    Univ.) takes the form of a letter to a young filmmaker but eschews

    the colloquial for a scholarly approach. He chronologically

    highlights directors, discussing a key work in each person's oeuvre

    and its place in Iranian and world cinema. Dabashi also explores the

    development of Iranian cinema objectively and subjectively via the

    people who created it, without the need for restrictive answers. He

    considers Iranian cinema representative of a living world cinema and

    will let "the bored historians of the future worry about its dead

    certainties." Given its academic approach, Dabashi's book is highly

    recommended for universities, large public libraries, and those with

    extensive focuses in film or cultural history."

    ``

    --Library Journal



    To anyone with a knowledge of Iranian cinema, the 12 film-makers

    covered here will come as no surprise, with perhaps only Ebrahim

    Golestan, Arby Ovanessian and Bahman Famanara unfamiliar in the west.

    Hamid Dabashi devotes a chapter to each director and the film he

    considers best represents their work, each written in the form of a

    letter addressed to a young Iranian born after the 1979 revolution.

    Taken together, the essays outline Dabashi’s view of the evolution of

    Iranian cinematic realism and in the process provide a highly

    readable narrative.



    The book was prompted by Dabashi’s reflections on the nihilism of

    many of today’s young film-makers in comparison with the earlier

    Iranian cinema with which he grew up. He recognises that important

    cinematic movements often arise out of moments of national trauma but

    thought that the standard question of how the Islamic Republic has

    produced so many visionary film-makers needed more exploration. “What

    is it about [this] realism, which is neither reducible to its

    European counterparts nor limited to its colonial origins?” he asks.

    “Where were its origins, whence its disposition, how had it come

    about, who were its best representatives and why?”



    This leads him to postulate an evolution of realist forms from

    Forough Fanokhzad, the pioneering female poet whose The House Is

    Black (1961) he describes as poetic realism, through Ebrahim Golestan

    (whose 1965 Mud Brick and Mirror is labelled affective realism) and

    the “psychedelic realism” of Dariush Mehrjui’s The Cow (1968).

    All

    three, he demonstrates, are directly influenced by classical writers.

    He then investigates Arby Ovanessian (spatial realism), whose 1972

    film Spring he recommends his readers to watch with the sound off,

    Bahram Farmanara (Prince Ehtejab, 1974; narrative realism). Sohrab

    Shahidsales (Still Life, 1974; transparent realism). Amir Naderi (The

    Runner, 1985; visual realism), Bahram Beizai (Bashu, the Little

    Stranger, 1990; mythical realism), Abbas Kiarostami (Through the

    Olive Trees, 1994; actual realism). Mohsen Makhmalbaf (A Moment of

    Innocence, 1995; virtual realism), Marziyeh Meshkini (The Day I

    Became a Woman, 2000;parabolic realism) and Jafar Panahi (Crimson

    Gold, 2003; visual realism). He classes Panahi as one of the

    beneficiaries of “an opulent visual vocabulary delivered to them on a

    silver platter... surpassing the lone and illustrious history of our

    verbal memories,” So the evolution of visual realism is now complete.



    Dabashi’s analysis and description of these realisms, via Persian

    poetry, literature sad philosophy, the globalising influence of

    European modernity “through the gun barrel of colonialism”, Reza

    Shah

    Pahlavi, a (failed) revolution, Kubrick, the Cannes film festival,

    western critics, walks in New York and much else, make for a complex

    and witty account. And his theory is for the most part convincing:

    his contention that Iranian realism “is rooted in the particularity

    of our cultural modernity” is surely proven. He is critical of

    western writing that, he insists, “has generated and sustained an

    entirely false conception of Iranian cinema around the world.” French

    critics in particular, he contends. “have cut and pasted the nature

    of Iranian cinematic aesthetics according to some abstract notion of

    cinema they have cooked up at Cahiers du cinéma.”



    Masters & Masterpieces should make us review our assumptions next

    time we view an Iranian film and whet our curiosity as to how

    contemporary film-makers might take this visual heritage forward.



    --Sheila Whitaker, Sight & Sound





    “Masters & Masterpieces of Iranian Cinema offers a remarkable

    overview of Iranian cinema and the directors who have transformed the

    shape of Iranian culture in modern history. With his superb authority

    on the social and political history of the region, Dabashi provides a

    tour de force of the artistic developments in Iran over the past half

    a century and thus beautifully lays out the alluring dynamic between

    Iranian art and politics. Perhaps the most significant accomplishment

    of this marvelous book is Dabashi’s refusal to limit the importance

    of Iranian cinema to its regional domain, as he consistently

    cultivates its global prominence.”

    —Shirin Neshat, film & video artist,

    director of Women without Men



    “For over a decade Hamid Dabashi’s revelations have been as

    instrumental in the fashioning of my own cinema as Naderi,

    Kiarostami, Bresson, or Rossellini. Dabashi brilliantly weaves

    together Iranian cinema, literature, history, philosophy, and

    politics in a national and global setting, and lovingly and

    masterfully guides his readers to cultural and aesthetic insights. If

    Iranian cinema brought the world a “poetic” vision of modern Iran,

    Dabashi has done no less in this piercing analysis.”

    —Ramin Bahrani, filmmaker,

    director of Man Push Cart



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