By Jonathan Rosenbaum, Mehrnaz Saeed-Vafa
This penetrating examine of the Iranian filmmaker Abbas Kiarostami's existence and paintings engages a cross-cultural discussion among Mehrnaz Saeed-Vafa, an Iranian filmmaker, and Jonathan Rosenbaum, a movie critic, either one of whom have an excessive curiosity in Kiarostami's paintings. A pioneer in Iranian cinema and thought of essentially the most debatable and influential filmmakers alive, Kiarostami has written or directed greater than twenty movies. He received notoriety within the West within the Nineties with the breakaway motion pictures "Close-Up" and "Through the Olive Trees" and have become the 1st Iranian director to win the Palme d'Or on the Cannes movie competition for "Taste of Cherry". he's additionally principally credited for his contributions to the Iranian New Wave. Abbas Kiarostami is the 1st full-length, English-language examine of his paintings. a different and resplendent collaboration that includes specific yet complementing views, the publication locations Kiarostami and his movies in a countrywide context and gives American readers with beneficial insights into Iranian tradition, Kiarostami's portrayal of girls and politics, and his impression on different filmmakers.
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Its action is already farcically swift in Shakespeare; its characters, except for Nick Bottom, have no psychology to speak of (indeed their lack of individuality is a running joke behind the transpositions of the four bewitched lovers’ aﬀections); and it is ﬁlled with magical transformations well suited to the technology available in 1909. Although the ﬁlm cuts Shakespeare’s ﬁnal act, including the mechanicals’ staging of the tedious brief scene of Pyramus and Thisby, it magically introduces Penelope (the friend of Titania who mysteriously stands in for the quarrelsome Oberon) and Puck through the miracle of stop-motion photography, shows Puck circling an unrealistically cylindrical but readily recognizable globe, instantaneously endows Bottom with an ass’s head onscreen, and incidentally has no trouble dramatizing Helen and Hermia’s ﬁght over Demetrius, even though neither contestant is given any words.
In confronting a virginal but enterprising heroine with a series of adventures, they bring into conﬂict the worlds of familiar domestic experience and exotic melodrama. ”25 The Beloved Adventurer, whose title neatly encapsulates its attempt to link small-scale intimacy with large-scale impressiveness, was, like most serials, based on a literary source—in this case, a series of stories by Emmett Campbell Hall—but one released in book form at the same time as the ﬁlms, in an early example of a marketing synergy that would become as enduring an intertextual model as ﬁdelity.
Instead of expanding an audience’s world by recording an exotic locale or activity, short subjects can borrow the cachet of respectability by ﬁlming duly sanctiﬁed subjects. Zukor’s four-reel Queen Elizabeth (1912) was successful and inﬂuential not only because it was long but because it introduced so many viewers to historical pageantry and Sarah Bernhardt. Cinema could achieve a similar sense of cultural enlargement on a briefer scale by presenting some famous person—Thomas Edison at work in his laboratory, President Coolidge 34 Film Adaptation and Its Discontents or George Bernard Shaw talking to the camera—or an opera like Griﬃth’s onereel condensation of Rigoletto as A Fool’s Revenge (Biograph, 1909) or a ballet like Martha Graham’s The Flute of Krishna (Kodak, 1926).