I.B. Tauris Handbook of Iranian Cinema
portes grátis
I.B. Tauris Handbook of Iranian Cinema
Khosroshahi, Zahra; Langford, Michelle; Ghorbankarimi, Maryam
Bloomsbury Publishing PLC
11/2024
472
Dura
9780755648153
15 a 20 dias
Descrição não disponível.
List of Figures
Notes on Contributors
Acknowledgement
A Note on Transliteration and Style
Part I: Introduction
Chapter 1: Once Upon A Time in Iran by Michelle Langford, Maryam Ghorbankarimi, and Zahra Khosroshahi
Part II: Production, Circulation and Reception of Iranian Cinema
Chapter 2: The Commercial Film Industry in the Islamic Revolution: Revisiting Narratives of Crisis and Collapse by Pedram Partovi (American University)
Chapter 3: Cinema and Circulation in Iran: Continuities and Ruptures by Blake Atwood (American University of Beirut) and Mahsa Salamati (University of Sydney)
Chapter 4: Making Stars in the Sky of Iranian Cinema Film Magazines and the Stars of Early Popular Cinema in Iran by Golbarg Rekabtalaei (Seton Hall University)
Chapter 5: A Brief History of Film Criticism in Iran by Mohsen Azarm (Independent Researcher) and Hossein Eidizadeh (Independent Researcher)
Chapter 6: Iranian Cinema and its French Audience by Asal Bagheri (CY Cergy Paris Universite)
Part III: Rethinking Genre
Chapter 7: Shocking Exchange: The Iranian Horror Film by Max Bledstein (University of New South Wales)
Chapter 8: The War Must Go On: The Three Phases of Iranian Sacred Defence Cinema by Kaveh Abbasian (Kaveh Abbasian)
Chapter 9: Mirrors of Childhood: Adaptation and Social Critique in Post-Revolutionary Iranian Child-Centred Cinema by Mazda Moradabbasi Fouladi (University of New South Wales)
Chapter 10: Just 6.5: A New Modulation on the Social Issues Film by Anne Demy Geroe (Independent Researcher)
Chapter 11: Tales of a City's Evolution: Tehran in Iranian Pre-revolution Cinema by Hamed Goharipour (The College of Wooster)
Part IV: Transnational Exchange
Chapter 12: Filmfarsi's transnational inception: techno-cultural exchanges with India and Egypt by Farshad Zahedi (Universidad Carlos III de Madrid)
Chapter 13: Elusive Home, Elusive Time: What's the Time in Your World? By Nasrin Rahimieh (UC Irvine)
Chapter 14: Shirin Neshat and Larissa Sansour: Transnational Stars, (Trans)regional Constellation by Lindsey Moore (Lancaster University)
Chapter 15: Iranian Afghan cinema: towards a poetics of love and migration by Nina Khamsy (The Graduate Institute of International and Development Studies)
Part V: Aesthetics of looking and listening
Chapter 16: The Look at the Camera in Iranian Cinema before and after 1979: a Tropological Atlas by Matthias Wittmann (Johannes Gutenberg University Mainz)
Chapter 17: Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures by Laudan Nooshin (City, University of London) and Kamyar Salavati (University of Exeter)
Chapater 18: Silence and the Temporality of the Everyday: The Cinematic Modernism of Marva Nabili's The Sealed Soil (1978) by Rosa Holman (Independent Researcher) and Michelle Langford (University of New South Wales)
Chapter 19: The Speaking Tree: The Mytho-poetics of The Female Voice in Bahram Beyzaie's Cinema by Farshid Kazemi (Simon Fraser University)
Part VI: Visionary Women Filmmakers
Chapter 20: Gendering Documentary Film Industry in Iran: Independent Women Documentarians and Adaptive Strategies of Production by Najmeh Moradiyan-Rizi (Old Dominion University)
Chapter 21: Women with Fighting Spirits: Transnational Documentaries by Kim Longinotto and Ziba Mir-Hosseini by Tania Ahmadi (Columbia University)
Chapter 22: Transcending Stereotypes: Negotiating Motherhood in Rakhshan Banietemad's Cinema by Zahra Khosroshahi (Glasgow University)
Chapter 23: Redefining 'Taboos': A feminist Reading of Ida Panahandeh's Titi (2020) by Maryam Ghorbankarmi (Lancaster University)
Filmography
Bibliography
Notes on Contributors
Acknowledgement
A Note on Transliteration and Style
Part I: Introduction
Chapter 1: Once Upon A Time in Iran by Michelle Langford, Maryam Ghorbankarimi, and Zahra Khosroshahi
Part II: Production, Circulation and Reception of Iranian Cinema
Chapter 2: The Commercial Film Industry in the Islamic Revolution: Revisiting Narratives of Crisis and Collapse by Pedram Partovi (American University)
Chapter 3: Cinema and Circulation in Iran: Continuities and Ruptures by Blake Atwood (American University of Beirut) and Mahsa Salamati (University of Sydney)
Chapter 4: Making Stars in the Sky of Iranian Cinema Film Magazines and the Stars of Early Popular Cinema in Iran by Golbarg Rekabtalaei (Seton Hall University)
Chapter 5: A Brief History of Film Criticism in Iran by Mohsen Azarm (Independent Researcher) and Hossein Eidizadeh (Independent Researcher)
Chapter 6: Iranian Cinema and its French Audience by Asal Bagheri (CY Cergy Paris Universite)
Part III: Rethinking Genre
Chapter 7: Shocking Exchange: The Iranian Horror Film by Max Bledstein (University of New South Wales)
Chapter 8: The War Must Go On: The Three Phases of Iranian Sacred Defence Cinema by Kaveh Abbasian (Kaveh Abbasian)
Chapter 9: Mirrors of Childhood: Adaptation and Social Critique in Post-Revolutionary Iranian Child-Centred Cinema by Mazda Moradabbasi Fouladi (University of New South Wales)
Chapter 10: Just 6.5: A New Modulation on the Social Issues Film by Anne Demy Geroe (Independent Researcher)
Chapter 11: Tales of a City's Evolution: Tehran in Iranian Pre-revolution Cinema by Hamed Goharipour (The College of Wooster)
Part IV: Transnational Exchange
Chapter 12: Filmfarsi's transnational inception: techno-cultural exchanges with India and Egypt by Farshad Zahedi (Universidad Carlos III de Madrid)
Chapter 13: Elusive Home, Elusive Time: What's the Time in Your World? By Nasrin Rahimieh (UC Irvine)
Chapter 14: Shirin Neshat and Larissa Sansour: Transnational Stars, (Trans)regional Constellation by Lindsey Moore (Lancaster University)
Chapter 15: Iranian Afghan cinema: towards a poetics of love and migration by Nina Khamsy (The Graduate Institute of International and Development Studies)
Part V: Aesthetics of looking and listening
Chapter 16: The Look at the Camera in Iranian Cinema before and after 1979: a Tropological Atlas by Matthias Wittmann (Johannes Gutenberg University Mainz)
Chapter 17: Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures by Laudan Nooshin (City, University of London) and Kamyar Salavati (University of Exeter)
Chapater 18: Silence and the Temporality of the Everyday: The Cinematic Modernism of Marva Nabili's The Sealed Soil (1978) by Rosa Holman (Independent Researcher) and Michelle Langford (University of New South Wales)
Chapter 19: The Speaking Tree: The Mytho-poetics of The Female Voice in Bahram Beyzaie's Cinema by Farshid Kazemi (Simon Fraser University)
Part VI: Visionary Women Filmmakers
Chapter 20: Gendering Documentary Film Industry in Iran: Independent Women Documentarians and Adaptive Strategies of Production by Najmeh Moradiyan-Rizi (Old Dominion University)
Chapter 21: Women with Fighting Spirits: Transnational Documentaries by Kim Longinotto and Ziba Mir-Hosseini by Tania Ahmadi (Columbia University)
Chapter 22: Transcending Stereotypes: Negotiating Motherhood in Rakhshan Banietemad's Cinema by Zahra Khosroshahi (Glasgow University)
Chapter 23: Redefining 'Taboos': A feminist Reading of Ida Panahandeh's Titi (2020) by Maryam Ghorbankarmi (Lancaster University)
Filmography
Bibliography
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Iranian film; Persian cinema; pre-revolutionary Iranian cinema; film Farsi; Bahram Beyzaie; Rakhshan Banetemad; Abbas Kiarostami; Mohsen Makhmalbaf; Ida Panahandeh; Shahram Mokri
List of Figures
Notes on Contributors
Acknowledgement
A Note on Transliteration and Style
Part I: Introduction
Chapter 1: Once Upon A Time in Iran by Michelle Langford, Maryam Ghorbankarimi, and Zahra Khosroshahi
Part II: Production, Circulation and Reception of Iranian Cinema
Chapter 2: The Commercial Film Industry in the Islamic Revolution: Revisiting Narratives of Crisis and Collapse by Pedram Partovi (American University)
Chapter 3: Cinema and Circulation in Iran: Continuities and Ruptures by Blake Atwood (American University of Beirut) and Mahsa Salamati (University of Sydney)
Chapter 4: Making Stars in the Sky of Iranian Cinema Film Magazines and the Stars of Early Popular Cinema in Iran by Golbarg Rekabtalaei (Seton Hall University)
Chapter 5: A Brief History of Film Criticism in Iran by Mohsen Azarm (Independent Researcher) and Hossein Eidizadeh (Independent Researcher)
Chapter 6: Iranian Cinema and its French Audience by Asal Bagheri (CY Cergy Paris Universite)
Part III: Rethinking Genre
Chapter 7: Shocking Exchange: The Iranian Horror Film by Max Bledstein (University of New South Wales)
Chapter 8: The War Must Go On: The Three Phases of Iranian Sacred Defence Cinema by Kaveh Abbasian (Kaveh Abbasian)
Chapter 9: Mirrors of Childhood: Adaptation and Social Critique in Post-Revolutionary Iranian Child-Centred Cinema by Mazda Moradabbasi Fouladi (University of New South Wales)
Chapter 10: Just 6.5: A New Modulation on the Social Issues Film by Anne Demy Geroe (Independent Researcher)
Chapter 11: Tales of a City's Evolution: Tehran in Iranian Pre-revolution Cinema by Hamed Goharipour (The College of Wooster)
Part IV: Transnational Exchange
Chapter 12: Filmfarsi's transnational inception: techno-cultural exchanges with India and Egypt by Farshad Zahedi (Universidad Carlos III de Madrid)
Chapter 13: Elusive Home, Elusive Time: What's the Time in Your World? By Nasrin Rahimieh (UC Irvine)
Chapter 14: Shirin Neshat and Larissa Sansour: Transnational Stars, (Trans)regional Constellation by Lindsey Moore (Lancaster University)
Chapter 15: Iranian Afghan cinema: towards a poetics of love and migration by Nina Khamsy (The Graduate Institute of International and Development Studies)
Part V: Aesthetics of looking and listening
Chapter 16: The Look at the Camera in Iranian Cinema before and after 1979: a Tropological Atlas by Matthias Wittmann (Johannes Gutenberg University Mainz)
Chapter 17: Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures by Laudan Nooshin (City, University of London) and Kamyar Salavati (University of Exeter)
Chapater 18: Silence and the Temporality of the Everyday: The Cinematic Modernism of Marva Nabili's The Sealed Soil (1978) by Rosa Holman (Independent Researcher) and Michelle Langford (University of New South Wales)
Chapter 19: The Speaking Tree: The Mytho-poetics of The Female Voice in Bahram Beyzaie's Cinema by Farshid Kazemi (Simon Fraser University)
Part VI: Visionary Women Filmmakers
Chapter 20: Gendering Documentary Film Industry in Iran: Independent Women Documentarians and Adaptive Strategies of Production by Najmeh Moradiyan-Rizi (Old Dominion University)
Chapter 21: Women with Fighting Spirits: Transnational Documentaries by Kim Longinotto and Ziba Mir-Hosseini by Tania Ahmadi (Columbia University)
Chapter 22: Transcending Stereotypes: Negotiating Motherhood in Rakhshan Banietemad's Cinema by Zahra Khosroshahi (Glasgow University)
Chapter 23: Redefining 'Taboos': A feminist Reading of Ida Panahandeh's Titi (2020) by Maryam Ghorbankarmi (Lancaster University)
Filmography
Bibliography
Notes on Contributors
Acknowledgement
A Note on Transliteration and Style
Part I: Introduction
Chapter 1: Once Upon A Time in Iran by Michelle Langford, Maryam Ghorbankarimi, and Zahra Khosroshahi
Part II: Production, Circulation and Reception of Iranian Cinema
Chapter 2: The Commercial Film Industry in the Islamic Revolution: Revisiting Narratives of Crisis and Collapse by Pedram Partovi (American University)
Chapter 3: Cinema and Circulation in Iran: Continuities and Ruptures by Blake Atwood (American University of Beirut) and Mahsa Salamati (University of Sydney)
Chapter 4: Making Stars in the Sky of Iranian Cinema Film Magazines and the Stars of Early Popular Cinema in Iran by Golbarg Rekabtalaei (Seton Hall University)
Chapter 5: A Brief History of Film Criticism in Iran by Mohsen Azarm (Independent Researcher) and Hossein Eidizadeh (Independent Researcher)
Chapter 6: Iranian Cinema and its French Audience by Asal Bagheri (CY Cergy Paris Universite)
Part III: Rethinking Genre
Chapter 7: Shocking Exchange: The Iranian Horror Film by Max Bledstein (University of New South Wales)
Chapter 8: The War Must Go On: The Three Phases of Iranian Sacred Defence Cinema by Kaveh Abbasian (Kaveh Abbasian)
Chapter 9: Mirrors of Childhood: Adaptation and Social Critique in Post-Revolutionary Iranian Child-Centred Cinema by Mazda Moradabbasi Fouladi (University of New South Wales)
Chapter 10: Just 6.5: A New Modulation on the Social Issues Film by Anne Demy Geroe (Independent Researcher)
Chapter 11: Tales of a City's Evolution: Tehran in Iranian Pre-revolution Cinema by Hamed Goharipour (The College of Wooster)
Part IV: Transnational Exchange
Chapter 12: Filmfarsi's transnational inception: techno-cultural exchanges with India and Egypt by Farshad Zahedi (Universidad Carlos III de Madrid)
Chapter 13: Elusive Home, Elusive Time: What's the Time in Your World? By Nasrin Rahimieh (UC Irvine)
Chapter 14: Shirin Neshat and Larissa Sansour: Transnational Stars, (Trans)regional Constellation by Lindsey Moore (Lancaster University)
Chapter 15: Iranian Afghan cinema: towards a poetics of love and migration by Nina Khamsy (The Graduate Institute of International and Development Studies)
Part V: Aesthetics of looking and listening
Chapter 16: The Look at the Camera in Iranian Cinema before and after 1979: a Tropological Atlas by Matthias Wittmann (Johannes Gutenberg University Mainz)
Chapter 17: Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures by Laudan Nooshin (City, University of London) and Kamyar Salavati (University of Exeter)
Chapater 18: Silence and the Temporality of the Everyday: The Cinematic Modernism of Marva Nabili's The Sealed Soil (1978) by Rosa Holman (Independent Researcher) and Michelle Langford (University of New South Wales)
Chapter 19: The Speaking Tree: The Mytho-poetics of The Female Voice in Bahram Beyzaie's Cinema by Farshid Kazemi (Simon Fraser University)
Part VI: Visionary Women Filmmakers
Chapter 20: Gendering Documentary Film Industry in Iran: Independent Women Documentarians and Adaptive Strategies of Production by Najmeh Moradiyan-Rizi (Old Dominion University)
Chapter 21: Women with Fighting Spirits: Transnational Documentaries by Kim Longinotto and Ziba Mir-Hosseini by Tania Ahmadi (Columbia University)
Chapter 22: Transcending Stereotypes: Negotiating Motherhood in Rakhshan Banietemad's Cinema by Zahra Khosroshahi (Glasgow University)
Chapter 23: Redefining 'Taboos': A feminist Reading of Ida Panahandeh's Titi (2020) by Maryam Ghorbankarmi (Lancaster University)
Filmography
Bibliography
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
