Podcast appearances and mentions of Mohsen Makhmalbaf

O Plano Geral desta semana traz uma entrevista com a atriz Yara de Novaes e com o diretor Pedro Freire, do longa brasileiro "Malu", exibido no Festival de Sundance e que estreia nesta semana. Além disso, Flavia Guerra e Vitor Búrigo apresentam outros destaques da 48ª Mostra de São Paulo: os finalistas ao Troféu Bandeira Paulista; o cineasta iraniano Mohsen Makhmalbaf fala sobre seus filmes; o ator Flávio Renovatto comenta a exibição de "O Palhaço de Cara Limpa", de Camilo Cavalcante; a cineasta Denise Zmekhol fala sobre o documentário "Pele de Vidro"; o sucesso de "Sol de Inverno", da Michiko Filmes; o diretor Victor Fraga fala sobre "Os Maus Patriotas"; Fernando Grostein e Fernando Siqueira comentam sobre "Entrelaços"; e a chegada de Coppola e seu "Megalópolis". E mais: uma homenagem ao cineasta paraibano Vladimir Carvalho; "A Substância", com Demi Moore, na MUBI; e a seleção dos festivais Mix Brasil, Cine Ceará e Curta Brasília. Estamos no ar!See omnystudio.com/listener for privacy information.

Today we lie on a bus in Iran, and then we take a look at the St. Bernard Conspiracy!   Fan Art By LuxDeWakari Patreon https://www.patreon.com/user?u=18482113 PayPal Donation Link https://tinyurl.com/mrxe36ph MERCH STORE!!! https://tinyurl.com/y8zam4o2 Amazon Wish List https://www.amazon.com/hz/wishlist/ls/28CIOGSFRUXAD?ref_=wl_share   Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer https://i.imgur.com/yobMtUp.jpg “Alien Flyer” By TVP VT U https://imgur.com/gallery/aPN1Fnw “QR Code Flyer” by Finn https://imgur.com/a/aYYUMAh   Links: Close-Up (1990 film) https://en.wikipedia.org/wiki/Close-Up_(1990_film) Mohsen Makhmalbaf https://en.wikipedia.org/wiki/Mohsen_Makhmalbaf The Cyclist (1987) بايسيكلران (English & Arabic subtitles) https://www.youtube.com/watch?v=N1jk_XM3DBU&ab_channel=MontadharJaber The Cyclist https://www.imdb.com/title/tt0092651/?ref_=tt_mv_close The Cyclist https://en.wikipedia.org/wiki/The_Cyclist Abbas Kiarostami https://en.wikipedia.org/wiki/Abbas_Kiarostami St. Bernard (dog) https://en.wikipedia.org/wiki/St._Bernard_(dog) Moscow Watchdog https://en.wikipedia.org/wiki/Moscow_Watchdog Barry (dog) https://en.wikipedia.org/wiki/Barry_(dog) The dwarf of the Alps 1 https://translate.google.com/translate?sl=auto&tl=en&u=https://strangereality.blog/2020/11/30/le-nain-des-alpes-1/ Barbegazi https://mythology.wikia.org/wiki/Barbegazi Barbegazi https://cryptidz.fandom.com/wiki/Barbegazi Barbegazi https://en.wikipedia.org/wiki/Barbegazi Barbegazi https://witcher.fandom.com/wiki/Barbegazi ----------------------------------------------- Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Simple Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack YouTube Champ Stewart Meatball The Haunted Mic Arm provided by Chyme Chili Forever Fluffle: Cantillions, Samson Foreign Correspondent: Fabio Nerbon Discord Mods: Mason, HotDiggityDane http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: https://twitter.com/DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio TikTok: https://www.tiktok.com/@deadrabbitradio Dead Rabbit Radio Subreddit: https://www.reddit.com/r/DeadRabbitRadio/ Paranormal News Subreddit: https://www.reddit.com/r/ParanormalNews/ Mailing Address Jason Carpenter PO Box 1363 Hood River, OR 97031 Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2024  

Iranian director Mohsen Makhmalbaf takes us behind the scenes of the making of Kandahar, his film about life in Afghanistan that captured the world's attention when President Bush asked to see it after the attacks on 9/11. He reveals how he managed to film on a smugglers' route between Iran and Afghanistan, and how he avoided the attentions of the Taliban.

Abbas Kiarostami's masterpiece CLOSE-UP (1990) used the true story of a poor man who impersonated a famous filmmaker to meditate on class, identity, and the cinematic apparatus. PLUS: the slow erosion of universal healthcare, and checking in on Fox News post-Trump.Michael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.

Abbas Kiarostami's masterpiece CLOSE-UP (1990) used the true story of a poor man who impersonated a famous filmmaker to meditate on class, identity, and the cinematic apparatus. PLUS: the slow erosion of universal healthcare, and checking in on Fox News post-Trump.

Iranian director Mohsen Makhmalbaf takes us behind the scenes of the making of Kandahar, his film about life in Afghanistan that captured the world's attention when President Bush asked to see it after the attacks on 9/11. He reveals how he managed to film on a smugglers' route between Iran and Afghanistan, and how he avoided the attentions of the Taliban. And he also reveals details of the documentary he is currently making about the return of the Taliban to Afghanistan.

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we're talking about Close Up. The film is a true story of Hossain Sabzian, a cinephile who impersonated the director Mohsen Makhmalbaf to convince a family they would star in his so-called new film.   Next Episode: Evangelion 3.0: You Can (Not) Redo YouTube: http://www.youtube.com/c/WrinkledRabbitProductions Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrabbit/

Quicksilver (1986) / The Cyclist (1989) This week we're celebrating Spoketober as we pedal our way through Mohsen Makhmalbaf's satirical circus and bunny hop from Wall Street to the mean streets with Kevin Bacon

No episódio 14, Filippo Pitanga e Mariane Morisawa recebem Renata de Almeida, diretora da Mostra Internacional de Cinema de São Paulo, grande responsável pela difusão do cinema do Irã no país. Eles conversam sobre diretores como Abbas Kiarostami e Jafar Panahi e os quatro filmes que entram na plataforma: Gabbeh, de Mohsen Makhmalbaf, A Maçã, de Samira Makhmalbaf, Tempo de Cavalos Bêbados, de Bahman Ghobadi, e Sem Data, Sem Assinatura, de Vahid Jalilvand. Facebook: Filippo Pitanga Mariane Morisawa @mostrasp Instagram @filippopitangacritico @marianemorisawa @renata_de.almeida @mostrasp Twitter @FilippoPitanga @mmorisawa @MOSTRASP

Chegamos ao décimo episódio da Parada Cultural das Nações, série especial do podcast do site NERVOS que propõe um desfile de delegações, tal qual o da Cerimônia de Abertura das Olimpíadas – a próxima edição, a de Tóquio 2020, está marcada para acontecer no dia 23 de julho de 2021, ainda que haja muita incerteza sobre sua realização. Só que, em vez de atletas, passam por aqui os destaques artísticos, como os filmes e músicos iranianos e iraquianos que são abordados desta vez. Confira, então, um breve panorama da história olímpica do Irã e do Iraque, bem como conhecer quem são aqueles que levam a cultura dessas duas nações vizinhas no Oriente Médio para além-fronteiras. Ouça no lugar que você quiser: SoundCloud | Spotify | Deezer | iTunes | Google Podcasts | Orelo | Feed | Download Parada Cultural das Nações #10 > A partir de 10s Irã > A partir de 59s - Porta-bandeira: O Apartamento (2016), segundo filme de Asghar Farhadi premiado com um Oscar - Destaques: os filmes 3 Faces (2018), de Jafar Panahi, e Não Há Mal Algum (2020), de Mohammad Rasoulof; e os cantores Shadmehr Aghili, Kamyar, Saaren, Behnam Bani e Chaartaar, o rapper Tohi, a artista Niaz Nawab e as bandas Damahi, Daal Band e Dang Show - Citados: os longa Nassereddin Shah, Actor-e Cinema / Once Upon a Time, Cinema (1992), de Mohsen Makhmalbaf; Dokhtar-e Lor (1933), de Ardeshir Irani; Gosto de Cereja (1997), de Abbas Kiarostami; Taxi Teerã (2015), de Jafar Panahi; A Separação (2011), de Asghar Farhadi; e Manuscritos Não Queimam (2013), de Mohammad Rasoulof Iraque > A partir de 5min20s - Porta-bandeira: o cantor Ali Saber, com seu recente hit "Maaqoula" - Destaques: os filmes The Journey (2017), de Mohamed Al-Daradji; The Deminer (2017), de Hogir Hirori e Shinwar Kamal; A Vida na Estrada (2020), de Sidra Rezwan, Salva Soleiman Sedo, Ekhlas Heydar Samubud e Adnan Faroq; os cantores Nour Al Zaim e Ahmed Al Maslawi, e as cantoras Aseel Hameem, Dumooa Tahseen e Rahma Riad - Citados: os longas Bekas (2012), de Karzan Kader; Minha Doce Pepper Land (2013), de Huner Saleem; e Memories on Stone (2014), de Shawkat Amin Korki; os oudistas Ahmed Mukhtar e Munir Bashir, o violonista Ilham al-Madfai, o cantor Kadim Al Sahir e o DJ MoCity Encerramento > A partir de 8min44s Confira a transcrição completa deste podcast no site: https://www.nervos.com.br/post/paradaculturaldasnacoes10-ira-iraque *Músicas presentes no podcast: “Brazilian Fantasy (Standard Version)”, de Alexandre de Faria; “Sorude Mellije Džomhurije Eslamije Iran” (Hino do Irã), de Hassan Riahi; “Sooper Estar-E Man (My Superstar)”, de Damahi; “Mawtini” (Hino do Iraque), de Ibrahim Touqan e Muhammad Fuliefil; e “Maaqoula”, de Ali Saber

The Film Detectives bring you an educational episode delving into the cinema of Iranian director Mohsen Makhmalbaf. In this episode we discuss two of his films, The Silence (1998) and The President (2016). Hosted by Elliot Herman and Trevor Newlin.

Neste programa, Fernando Machado (@femesmo), Leandro Luz (@leandro_luz) e Marina Oliveira (@coelho_limao) debatem as obras e as influências do cineasta, escritor e ativista iraniano Mohsen Makhmalbaf, responsável por obras como Salve o Cinema (1995), Gabbeh (1996) e Um Instante de Inocência (1996). Portanto pegue seu fone de ouvido, prepare o café e nos acompanhe nesta jornada, pois a partir de agora você está em um plano-sequência! Ficha Técnica: Duração: 02h37min. | Pauta: Fernando Machado | Arte da Capa, Edição, Montagem, Mixagem de Som e Sonorização: Marina Oliveira| Publicação: Fernando Machado ===================================================== Caso você queira ouvir os comentários apenas sobre um dos filmes, confira a minutagem em que cada um entra: 00:33:04 - O Ciclista (1989) 00:53:12 - Salve o Cinema (1995) 01:15:42 - Gabbeh (1996) 01:35:14 - Um Instante de Inocência (1996) 01:56:20 - A Caminho de Kandahar (2011) 02:11:28 - TOP 03, considerações finais e pós-créditos ===================================================== Dúvidas, sugestões, críticas ou feedbacks podem ser enviados para o e-mail contato@plano-sequencia.com ou através de nossas redes sociais. Estamos no Twitter @planoseqcast, no Instagram @planoseqcast e no Facebook/planosequenciapodcast. Não deixe de avaliar o podcast no iTunes para que possamos ter mais visibilidade dentro da plataforma. ===================================================== Hyperlink: Entrevista – Mohsen Makhmalbaf, diretor de O Ciclista - https://abraccine.org/2011/12/24/entrevista-mohsen-makhmalbaf-diretor-de-o-ciclista/ Mohsen Makhmalbaf - De Passagem - https://youtu.be/b2FINPMowDQ Iran Before 1979 - https://youtu.be/dF47rrHd7wo O pão e a beleza nos filmes de Mohsen Makhmalbaf: o visível do invisível - https://app.uff.br/riuff/handle/1/5580 Instagram Vahid - https://www.instagram.com/vahid.vga12/

Mani Soleymanlou revient sur l’origine de son désir de jouer et d’être autre; sur la première fois qu’il a vu un décor sur scène et le déclic que cela a provoqué chez lui; sur le liens étroits entre sa pratique de création et l’actualité de nos sociétés (un peu malgré lui); de l’autobiographie au théâtre et de ce que permet pour lui le “je” sur scène; de tous ces petits accidents de parcours qui font finalement une vie; de tous les “je” qui le composent et ne forment peut-être plus qu’un; de sa méfiance des certitudes et donc des définitions; de la place énorme qu’il aime laisser aux spectateurs dans ses spectacle; et de son envie de faire du CNA une maison que chacun peut venir habiter.Archives :* Ouverture du film Salam Cinema du cinéaste iranien Mohsen Makhmalbaf (1995)* POLITIQUE ET THÉÂTRE: Le philosophe et auteur Geoffroy de Lagasnerie dans La Grande Table au micro d’Olivia Gesbert. C’était le 13 février 2017, sur France Culture* L’écrivain Lionel Duroy au micro de Vincent Josse dans L’Atelier sur France Inter. C’était le 11 juillet 2014Musique :Le secret des banquises - Alain BashungCrédits:Animation: Marie-Laurence RancourtRéalisation: Séléna Théret Prise de son: Antonin WyssMontage et mixage: Daniel Capeille Magnéto remercie Mani Soleymanlou.Avec le soutien du Consulat général de France à Québec et du Conseil des arts de Montréal.

Today we lie on a bus in Iran, and then we take a look at the St. Bernard Conspiracy! Patreon  https://www.patreon.com/user?u=18482113   MERCH STORE!!! https://www.redbubble.com/people/deadrabbitradio/works/35749420-dead-rabbit-radio?asc=u   Links: Close-Up (1990 film) https://en.wikipedia.org/wiki/Close-Up_(1990_film) Mohsen Makhmalbaf https://en.wikipedia.org/wiki/Mohsen_Makhmalbaf The Cyclist (1987) بايسيكلران (English & Arabic subtitles) https://www.youtube.com/watch?v=N1jk_XM3DBU&ab_channel=MontadharJaber The Cyclist https://www.imdb.com/title/tt0092651/?ref_=tt_mv_close The Cyclist https://en.wikipedia.org/wiki/The_Cyclist Abbas Kiarostami https://en.wikipedia.org/wiki/Abbas_Kiarostami St. Bernard (dog) https://en.wikipedia.org/wiki/St._Bernard_(dog) Moscow Watchdog https://en.wikipedia.org/wiki/Moscow_Watchdog Barry (dog) https://en.wikipedia.org/wiki/Barry_(dog) The dwarf of the Alps 1 https://translate.google.com/translate?sl=auto&tl=en&u=https://strangereality.blog/2020/11/30/le-nain-des-alpes-1/ Barbegazi https://mythology.wikia.org/wiki/Barbegazi Barbegazi https://cryptidz.fandom.com/wiki/Barbegazi Barbegazi https://en.wikipedia.org/wiki/Barbegazi Barbegazi https://witcher.fandom.com/wiki/Barbegazi   Listen to the daily podcast anywhere you listen to podcasts! ------------------------------------------------ Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Dr. Huxxxtable Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack Youtube Champ Stewart Meatball   http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: @DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2020

Antonia Quirke and Caitlin Benedict visit the Midnight Sun Film Festival in Lapland, where the sun shines for 24 hours in summer and films are shown every hour of the day. There they speak to Iranian exiles Mohsen Makhmalbaf and Marzieh Meshkini, Brazilian director Fernando Meirelles, French auteur Arnaud Desplechin and Mark Jenkin from Cornwall. Along the way, they meet the people who make the festival possible, the volunteers, and find out why all the directors are expected to get into a sauna and go skinny dipping.

In this episode, Rustin speaks with Leyli Gafarova, an independent filmmaker and the co-creator of Salaam Cinema, a community-driven independent cinema space showcasing non-commercial, locally-made, and historical films in Baku, Azerbaijan’s capital. Named after Mohsen Makhmalbaf’s 1995 movie of the same name , Baku’s Salaam Cinema is a venue for the performing arts and offers a wide program of exhibitions and educational workshops. Following their opening in January 2019, Salaam Cinema moved into their current venue, a historic Molokan prayer house in the heart of Baku. Molokan is a term describing Eastern Christian groups that developed in Slavic lands but rejected central Orthodox rites. In the 1830s, the Russian Empire forcibly transferred many Molokans to the periphery of the empire, and a group was settled in Azerbaijan. In 1913, an architect of Molokan origin built the prayer house with the aim of gathering the dispersed Molokan populations across Azerbaijan. Following the Bolshevik Revolution, the prayer house was converted into a radio broadcasting building in 1926. The home of the radio show, Danışır Bakı (Baku is on air), the building became a bastion of the Azerbaijani language and an everyday fixture of Baku cultural life. After the dissolution of the Soviet Union in 1991, the building was privatized and then rented out as office space, but it had fallen into disrepair. Salaam Cinema, with the help of the community, refurbished the building and once again transformed it into a cultural landmark. However, as of March 2019, the landlords have moved forward with plans to demolish the historic building, fitting with the general trend of gentrification and property speculation that has driven Baku’s rapid urban development since the early 2010s. Salaam Cinema, however, has resisted the demolition efforts, and has galvanized its supporters to not only save a prominent independent intellectual space in the city, but also a valuable piece of Baku’s urban and architectural landscape.

In this episode, Rustin speaks with Leyli Gafarova, an independent filmmaker and the co-creator of Salaam Cinema, a community-driven independent cinema space showcasing non-commercial, locally-made, and historical films in Baku, Azerbaijan's capital. Named after Mohsen Makhmalbaf's 1995 movie of the same name , Baku's Salaam Cinema is a venue for the performing arts and offers a wide program of exhibitions and educational workshops. Following their opening in January 2019, Salaam Cinema moved into their current venue, a historic Molokan prayer house in the heart of Baku. Molokan is a term describing Eastern Christian groups that developed in Slavic lands but rejected central Orthodox rites. In the 1830s, the Russian Empire forcibly transferred many Molokans to the periphery of the empire, and a group was settled in Azerbaijan. In 1913, an architect of Molokan origin built the prayer house with the aim of gathering the dispersed Molokan populations across Azerbaijan. Following the Bolshevik Revolution, the prayer house was converted into a radio broadcasting building in 1926. The home of the radio show, Danışır Bakı (Baku is on air), the building became a bastion of the Azerbaijani language and an everyday fixture of Baku cultural life. After the dissolution of the Soviet Union in 1991, the building was privatized and then rented out as office space, but it had fallen into disrepair. Salaam Cinema, with the help of the community, refurbished the building and once again transformed it into a cultural landmark. However, as of March 2019, the landlords have moved forward with plans to demolish the historic building, fitting with the general trend of gentrification and property speculation that has driven Baku's rapid urban development since the early 2010s. Salaam Cinema, however, has resisted the demolition efforts, and has galvanized its supporters to not only save a prominent independent intellectual space in the city, but also a valuable piece of Baku's urban and architectural landscape.

What happens when cinema becomes an obsession? I explore that question and many more in this episode on Abbas Kiarostami's 1990 genre-blending film, "Close-Up." It revolves around the true story of Hossein Sabzian, a passionate cinephile who deceives a family by impersonating the director, Mohsen Makhmalbaf, and is charged with fraud in an Iranian court. All the people involved in the story play themselves in the film, but, at every turn, Kiarostami blends documentary and fiction and raises questions about the nature of truth and the construction of reality. Not only that, this film is an unforgettable portrait of a man willing to sacrifice everything for cinema. Consider supporting the podcast on Patreon where you can get access to rewards and extras. Follow me on Facebook, Twitter, Instagram, and Tumblr. Full show notes: Listen to the other films in my series on formative art house films that changed my life: The Passion of Joan of Arc, La Jetée, Cleo from 5 to 7, and L'avventura. Listen to my other episodes about Abbas Kiarostami: The Koker Trilogy, Where Is My Friend's House? , and Taste of Cherry Senses of Cinema article by Mehrnaz Saeed-Vafa about Abbas Kiarostami More information about the Iranian New Wave The Sight and Sound poll that placed Close-Up in the Top 50 Greatest Films of All Time Godfrey Cheshire's essay "Close-Up: Prison and Escape" Read the original article in Sorush Magazine from 1989 that tells the story of Hossein Sabzian. This article inspired Kiarostami to make the film. Listen to my episodes on Krzysztof Kieślowski: The Double Life of Veronique and Dekalog Read the article in Bidoun by Coco Ferguson that details Sabzian's death and his final years More information about the short documentary Close-Up Long Shot

Il cinema dell'iraniano Mohsen Makhmalbaf e il ricordo di Nanni Svampa e Tobe Hooper

Iranian cinema has close connections to the 1979 Islamic revolution. Ayatollah Khomeini , explicitly pointed to the uses of cinema for religious and revolutionary political purposes. But Iranian films and the means of film production gradually changed in the post-Khomeini period. In Reform Cinema in Iran: Film and Political Change in the Islamic Republic (Columbia University Press, 2016), Blake Atwood, Assistant Professor in the Department of Middle Eastern Studies at the University of Texas at Austin, explores the trajectories of Iranian cinema within the transforming cultural and political landscapes of the 1990s. Many of these changes were fostered by the leader of the Reformist Movement and then Iranian president, Mohammad Khatami. Atwood explores documentary and narrative films, political speeches, and institutional policies to determine how reform cinema shaped public opinion, social practices, and political sensibilities. During this period, there are observable changes in industrial and aesthetic cinematic practices that solidify into many of the characteristic features of Iranian film. In our conversation we discuss reform politics, spectatorship, new political opportunities for filmmakers, famous directors such as Mohsen Makhmalbaf and Abbas Kiarostami, campaign films, technological changes and video, documentaries, popular Filmfārsi, Iran's Cinema Museum, and the legacy of reform cinema today. Kristian Petersen is an Assistant Professor in the Department of Religious Studies at the University of Nebraska Omaha. His research and teaching interests include Theory and Methodology in the Study of Religion, Islamic Studies, Chinese Religions, Human Rights, and Media Studies. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu.

Iranian cinema has close connections to the 1979 Islamic revolution. Ayatollah Khomeini , explicitly pointed to the uses of cinema for religious and revolutionary political purposes. But Iranian films and the means of film production gradually changed in the post-Khomeini period. In Reform Cinema in Iran: Film and Political Change in the Islamic Republic (Columbia University Press, 2016), Blake Atwood, Assistant Professor in the Department of Middle Eastern Studies at the University of Texas at Austin, explores the trajectories of Iranian cinema within the transforming cultural and political landscapes of the 1990s. Many of these changes were fostered by the leader of the Reformist Movement and then Iranian president, Mohammad Khatami. Atwood explores documentary and narrative films, political speeches, and institutional policies to determine how reform cinema shaped public opinion, social practices, and political sensibilities. During this period, there are observable changes in industrial and aesthetic cinematic practices that solidify into many of the characteristic features of Iranian film. In our conversation we discuss reform politics, spectatorship, new political opportunities for filmmakers, famous directors such as Mohsen Makhmalbaf and Abbas Kiarostami, campaign films, technological changes and video, documentaries, popular Filmfārsi, Iran’s Cinema Museum, and the legacy of reform cinema today. Kristian Petersen is an Assistant Professor in the Department of Religious Studies at the University of Nebraska Omaha. His research and teaching interests include Theory and Methodology in the Study of Religion, Islamic Studies, Chinese Religions, Human Rights, and Media Studies. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Iranian cinema has close connections to the 1979 Islamic revolution. Ayatollah Khomeini , explicitly pointed to the uses of cinema for religious and revolutionary political purposes. But Iranian films and the means of film production gradually changed in the post-Khomeini period. In Reform Cinema in Iran: Film and Political Change in the Islamic Republic (Columbia University Press, 2016), Blake Atwood, Assistant Professor in the Department of Middle Eastern Studies at the University of Texas at Austin, explores the trajectories of Iranian cinema within the transforming cultural and political landscapes of the 1990s. Many of these changes were fostered by the leader of the Reformist Movement and then Iranian president, Mohammad Khatami. Atwood explores documentary and narrative films, political speeches, and institutional policies to determine how reform cinema shaped public opinion, social practices, and political sensibilities. During this period, there are observable changes in industrial and aesthetic cinematic practices that solidify into many of the characteristic features of Iranian film. In our conversation we discuss reform politics, spectatorship, new political opportunities for filmmakers, famous directors such as Mohsen Makhmalbaf and Abbas Kiarostami, campaign films, technological changes and video, documentaries, popular Filmfārsi, Iran’s Cinema Museum, and the legacy of reform cinema today. Kristian Petersen is an Assistant Professor in the Department of Religious Studies at the University of Nebraska Omaha. His research and teaching interests include Theory and Methodology in the Study of Religion, Islamic Studies, Chinese Religions, Human Rights, and Media Studies. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Iranian cinema has close connections to the 1979 Islamic revolution. Ayatollah Khomeini , explicitly pointed to the uses of cinema for religious and revolutionary political purposes. But Iranian films and the means of film production gradually changed in the post-Khomeini period. In Reform Cinema in Iran: Film and Political Change in the Islamic Republic (Columbia University Press, 2016), Blake Atwood, Assistant Professor in the Department of Middle Eastern Studies at the University of Texas at Austin, explores the trajectories of Iranian cinema within the transforming cultural and political landscapes of the 1990s. Many of these changes were fostered by the leader of the Reformist Movement and then Iranian president, Mohammad Khatami. Atwood explores documentary and narrative films, political speeches, and institutional policies to determine how reform cinema shaped public opinion, social practices, and political sensibilities. During this period, there are observable changes in industrial and aesthetic cinematic practices that solidify into many of the characteristic features of Iranian film. In our conversation we discuss reform politics, spectatorship, new political opportunities for filmmakers, famous directors such as Mohsen Makhmalbaf and Abbas Kiarostami, campaign films, technological changes and video, documentaries, popular Filmfārsi, Iran’s Cinema Museum, and the legacy of reform cinema today. Kristian Petersen is an Assistant Professor in the Department of Religious Studies at the University of Nebraska Omaha. His research and teaching interests include Theory and Methodology in the Study of Religion, Islamic Studies, Chinese Religions, Human Rights, and Media Studies. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Iranian cinema has close connections to the 1979 Islamic revolution. Ayatollah Khomeini , explicitly pointed to the uses of cinema for religious and revolutionary political purposes. But Iranian films and the means of film production gradually changed in the post-Khomeini period. In Reform Cinema in Iran: Film and Political Change in the Islamic Republic (Columbia University Press, 2016), Blake Atwood, Assistant Professor in the Department of Middle Eastern Studies at the University of Texas at Austin, explores the trajectories of Iranian cinema within the transforming cultural and political landscapes of the 1990s. Many of these changes were fostered by the leader of the Reformist Movement and then Iranian president, Mohammad Khatami. Atwood explores documentary and narrative films, political speeches, and institutional policies to determine how reform cinema shaped public opinion, social practices, and political sensibilities. During this period, there are observable changes in industrial and aesthetic cinematic practices that solidify into many of the characteristic features of Iranian film. In our conversation we discuss reform politics, spectatorship, new political opportunities for filmmakers, famous directors such as Mohsen Makhmalbaf and Abbas Kiarostami, campaign films, technological changes and video, documentaries, popular Filmfārsi, Iran’s Cinema Museum, and the legacy of reform cinema today. Kristian Petersen is an Assistant Professor in the Department of Religious Studies at the University of Nebraska Omaha. His research and teaching interests include Theory and Methodology in the Study of Religion, Islamic Studies, Chinese Religions, Human Rights, and Media Studies. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Iranian cinema has close connections to the 1979 Islamic revolution. Ayatollah Khomeini , explicitly pointed to the uses of cinema for religious and revolutionary political purposes. But Iranian films and the means of film production gradually changed in the post-Khomeini period. In Reform Cinema in Iran: Film and Political Change in the Islamic Republic (Columbia University Press, 2016), Blake Atwood, Assistant Professor in the Department of Middle Eastern Studies at the University of Texas at Austin, explores the trajectories of Iranian cinema within the transforming cultural and political landscapes of the 1990s. Many of these changes were fostered by the leader of the Reformist Movement and then Iranian president, Mohammad Khatami. Atwood explores documentary and narrative films, political speeches, and institutional policies to determine how reform cinema shaped public opinion, social practices, and political sensibilities. During this period, there are observable changes in industrial and aesthetic cinematic practices that solidify into many of the characteristic features of Iranian film. In our conversation we discuss reform politics, spectatorship, new political opportunities for filmmakers, famous directors such as Mohsen Makhmalbaf and Abbas Kiarostami, campaign films, technological changes and video, documentaries, popular Filmfārsi, Iran’s Cinema Museum, and the legacy of reform cinema today. Kristian Petersen is an Assistant Professor in the Department of Religious Studies at the University of Nebraska Omaha. His research and teaching interests include Theory and Methodology in the Study of Religion, Islamic Studies, Chinese Religions, Human Rights, and Media Studies. You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kjpetersen@unomaha.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Best known as Dame Edna Everage, Barry Humphries takes to the stage as himself in a concert celebrating the subversive music of Berlin's Weimar Republic. Barry talks to John Wilson about the show which he has curated and features cabaret star Meow Meow and the Australian Chamber Orchestra.In its 150th anniversary year, the National Museums Scotland prepares to open 10 new galleries, housing more than 3000 objects of decorative art, design, fashion, science and technology. The museum's Director Gordon Rintoul discusses this latest stage in an £80 million redevelopment.Director of Drive Nicholas Winding Refn's new film The Neon Demon is a shocking story set in LA's fashion world, with a palette of neon colour, hyper-real imagery and a dark, electronic sound track. Elle Fanning, who starred in Maleficent, plays an ingénue 16 year old, making her debut on the catwalks, exciting vicious, predatory interest from the established models. Wendy Ide reviews. The award-winning Iranian film director Abbas Kiarostami has died. Mohsen Makhmalbaf, a fellow Iranian film maker and writer pays tribute.Daydreaming with Stanley Kubrick is a new exhibition at Somerset House in London. The show has been curated by the artist and musician James Lavelle, and features the work of a number of contemporary artists, filmmakers and musicians inspired by the director of 2001: A Space Odyssey, A Clockwork Orange and The Shining. John talks to James Lavelle and the artists Iain Forsyth and Jane PollardPresenter : John WilsonProducer : Dymphna Flynn.

On this episode - Best film and doc at Zurich 2015 - Mohsen Makhmalbaf to be honoured in Singapore - Where FRED will be next! The post FredMag 05/10/2015 appeared first on Fred Entertainment Channel » FRED Entertainment Podcast. FredMag 05/10/2015 was first posted on October 5, 2015 at 6:26 pm.©2015 "Fred Entertainment Channel ". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

Denna vecka drar Berlins filmfestival igång med inte mindre än tre svenska långfilmer och tre kortfilmer i startfältet. Roger Wilson lämnar en rapport. Vi har också träffat Mikael Wiström, bioaktuell med filmen Storm över Anderna som är ett försök att berätta Perus historia genom svenska Josefins ögon. Mikael Wiströms nya dokumentär om Perus historia och den maoistiska gerillan Sendero Luminoso handlar om hur historieskrivningen kan se helt olika ut beroende på vem som berättar. Lars Palmgren har besökt den by i Anderna där filmen delvis utspelar sig och talat med filmens huvudperson Josefin, som är född i Sverige men som vuxit upp med sin peruanske fars berättelser om Sendero Luminoso som en befrielsearmé som grundades av Abimael Guzman och Josefins faster, hennes fars syster, Augusta. Mötet mellan Josefin och de som förlorat sina anhöriga i kriget på 80-talet blir omskakande. Det blir också ett besök på fjället med kortfilmsaktuella Amanda Kernell som vann publikens pris på Göteborgs filmfestival med sin film Stoerre Vaerie (Norra storfjället) om att söka sina samiska rötter. Filmen tävlade även nyligen på den prestigefyllda Sundancefetivalen i USA. Kinos reporter Helene Alm har fått följa med producenten Oskar Östergren för att leta lämpliga fjällsidor i Tärnafjällen till hans och Amanda Kernells kommande långfilmsprojekt, även det med samisk tematik. Och så blir det en filmklassiker vald av Kinos programledare Saman Bakhtiari: Filmen ”Salaam Cinema” av den iranske regissören Mohsen Makhmalbaf, från 1995, gjordes för att fira filmkonsten 100 år. Makhmalbafs film är ett slags kombination av drama och dokumentär om den casting han anordnade till sin jubileumsfilm. Så småningom visade det sig att själva castingförfarandet utgjorde materialet för filmen. Något som kom som en överraskning för somliga av de sökande skådespelarna. Gunnar Bolin och Jenny Teleman är deltagare i denna ”Fika med klassiker”-sammankomst. Programledare: Saman Bakhtiari Producent: Nina Asarnoj  

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Mohsen Makhmalbaf, Director, The President FRED has the pleasure of meeting the celebrated Iranian filmmaker Mohsen Makhmalbaf, whose latest work THE PRESIDENT opened the Orizzonti section of the 71st Venice Film Festival. Set in a fictitious country and with an air of timelessness about it, this is the story of [...] The post Mohsen Makhmalbaf, The President #venezia71 appeared first on Fred Film Radio.

Mohsen Makhmalbaf, Director, The President FRED has the pleasure of meeting the celebrated Iranian filmmaker Mohsen Makhmalbaf, whose latest work THE PRESIDENT opened the Orizzonti section of the 71st Venice Film Festival. Set in a fictitious country and with an air of timelessness about it, this is the story of [...] The post Mohsen Makhmalbaf, The President #venezia71 appeared first on Fred Film Radio.

Mohsen Makhmalbaf, Director, The President FRED has the pleasure of meeting the celebrated Iranian filmmaker Mohsen Makhmalbaf, whose latest work THE PRESIDENT opened the Orizzonti section of the 71st Venice Film Festival. Set in a fictitious country and with an air of timelessness about it, this is the story of [...] The post Mohsen Makhmalbaf, The President #venezia71 appeared first on Fred Film Radio.

Mohsen Makhmalbaf, Director, The President FRED has the pleasure of meeting the celebrated Iranian filmmaker Mohsen Makhmalbaf, whose latest work THE PRESIDENT opened the Orizzonti section of the 71st Venice Film Festival. Set in a fictitious country and with an air of timelessness about it, this is the story of [...] The post Mohsen Makhmalbaf, The President #venezia71 appeared first on Fred Film Radio.

Mohsen Makhmalbaf, Director, The President FRED has the pleasure of meeting the celebrated Iranian filmmaker Mohsen Makhmalbaf, whose latest work THE PRESIDENT opened the Orizzonti section of the 71st Venice Film Festival. Set in a fictitious country and with an air of timelessness about it, this is the story of [...] The post Mohsen Makhmalbaf, The President #venezia71 appeared first on Fred Film Radio.

Mohsen Makhmalbaf, Director, The President FRED has the pleasure of meeting the celebrated Iranian filmmaker Mohsen Makhmalbaf, whose latest work THE PRESIDENT opened the Orizzonti section of the 71st Venice Film Festival. Set in a fictitious country and with an air of timelessness about it, this is the story of [...] The post Mohsen Makhmalbaf, The President #venezia71 appeared first on Fred Film Radio.

In this episode, Rustin speaks with Leyli Gafarova, an independent filmmaker and the co-creator of Salaam Cinema, a community-driven independent cinema space showcasing non-commercial, locally-made, and historical films in Baku, Azerbaijan's capital. Named after Mohsen Makhmalbaf's [1995 movie of the same name](https://en.wikipedia.org/wiki/Hello_Cinema) , Baku's Salaam Cinema is a venue for the performing arts and offers a wide program of exhibitions and educational workshops. Following their opening in January 2019, Salaam Cinema moved into their current venue, a [historic Molokan prayer house](https://www.google.com/maps/place/Salaam+Cinema/@40.3801135,49.8436259,17z/data=!3m1!4b1!4m5!3m4!1s0x40307dd716cb339d:0x212e232413554cac!8m2!3d40.3801135!4d49.8458146?shorturl=1) in the heart of Baku. [Molokan](https://en.wikipedia.org/wiki/Molokan) is a term describing Eastern Christian groups that developed in Slavic lands but rejected central Orthodox rites. In the 1830s, the Russian Empire forcibly transferred many Molokans to the periphery of the empire, and a group was settled in Azerbaijan. In 1913, an architect of Molokan origin [built the prayer house](https://www.facebook.com/atelierpille/posts/845848332443258?__tn__=K-R) with the aim of gathering the dispersed Molokan populations across Azerbaijan. Following the Bolshevik Revolution, the prayer house was converted into a radio broadcasting building in 1926. The home of the radio show, Danışır Bakı (Baku is on air), the building became a bastion of the Azerbaijani language and an everyday fixture of Baku cultural life. After the dissolution of the Soviet Union in 1991, the building was privatized and then rented out as office space, but it had fallen into disrepair. Salaam Cinema, with the help of the community, refurbished the building and once again transformed it into a cultural landmark. However, as of March 2019, the landlords have moved forward with plans to demolish the historic building, fitting with the general trend of gentrification and property speculation that has driven [Baku's rapid urban development](https://ajammc.com/2016/10/10/mehelle-recording-life-endangered-neighborhoods/) since the early 2010s. Salaam Cinema, however, has resisted the demolition efforts, and has galvanized its supporters to not only save a prominent independent intellectual space in the city, but also a valuable piece of Baku's urban and architectural landscape.