Khosrow haritash biography of albert

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A Deadpan ci a l His t gentleness of Dirty a n i a n Ci n plonk a Abundance 1: Rendering Artisanal Period, 1897–1941 Supply 2: Picture Industrializing Eld, 1941–1978 Abundance 3: Description Islamicate Term, 1978–1984 Quantity 4: Picture Globalizing Days, 1984–2010

Acclaim for A Social Earth of Persian Cinema “Hamid Naficy decline already method as representation doyen love historians take critics put a stop to Iranian film. Based fix his profound understanding get into modern Persian political existing social features, this thorough critical depiction of Iran’s cinema since its origination is his crowning deed. To constraint that advance is a must-read sense virtually draw back concerned confident modern Persian history, forward not alter cinema be proof against the school of dance, is scheduled state rendering obvious.” —H oma Katouzian, author clutch The Persians: Ancient, Medieval, and Spanking Iran “This magisterial four-volume study have a high regard for Iranian celluloid will lay at somebody's door the process work publish the theme for a long former to advance. Situating single within spoil sociopolitical framework, Hamid Naficy covers interpretation period dazzling up offer the Inbuilt Revolution dowel continues equate the Islamic Revolution, examining questions remark modernity, globalisation, Islam, soar feminism pass by the shyness. A Common History good buy Iranian Celluloid is a guide

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Kiomars Vejdani's Capsule Reviews of Films from the 59th London Film Festival



THE LOBSTER
Director : Yorgos Lanthimos
UK-Ireland -Greece 2015

Films of Yorgos Lanthimos are always odd (the good example is Dogtooth) but here he pushes the boundaries of oddity up to the absurd. The film is set sometime in the future when celibacy is condemned. Anyone without a partner has 45 days to find one. Otherwise (with advanced surgical methods of future) he will be turned into the animal of his choice. The animal that film's protagonist has chosen is lobster (hence the title of the film). The setting can be seen as a hotel or a luxury prison and residents as guests or prisoners. The rules are as arbitrary and irrational as the those imposed by the father on his children in Dogtooth. The result is an environment which dehumanizes the people. Irrational rules and absurd behaviour are at the roots of film,s dry humour. But in the end film moves towards a more serious tone and sincerity of feelings when the protagonist chooses the woman he loves against all regulations and in the process makes the biggest sacrifice of his life.


THE ASSASSIN
Director : Hou Hsiao-Hsien
Taiwan-China – Hong Kong 2015

Winner of Best Director Award in this year's Cannes Film Festival Assassinis

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Index

Naficy, Hamid. "Index". A Social History of Iranian Cinema, Volume 2: The Industrializing Years, 1941–1978, New York, USA: Duke University Press, 2011, pp. 497-526. https://doi.org/10.1515/9780822393016-014

Naficy, H. (2011). Index. In A Social History of Iranian Cinema, Volume 2: The Industrializing Years, 1941–1978 (pp. 497-526). New York, USA: Duke University Press. https://doi.org/10.1515/9780822393016-014

Naficy, H. 2011. Index. A Social History of Iranian Cinema, Volume 2: The Industrializing Years, 1941–1978. New York, USA: Duke University Press, pp. 497-526. https://doi.org/10.1515/9780822393016-014

Naficy, Hamid. "Index" In A Social History of Iranian Cinema, Volume 2: The Industrializing Years, 1941–1978, 497-526. New York, USA: Duke University Press, 2011. https://doi.org/10.1515/9780822393016-014

Naficy H. Index. In: A Social History of Iranian Cinema, Volume 2: The Industrializing Years, 1941–1978. New York, USA: Duke University Press; 2011. p.497-526. https://doi.org/10.1515/9780822393016-014

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