Podcasts about reformist movement

This week's episode breaks down results from the 2024 federal election in Belgium, whilst looking ahead to the upcoming snap federal election in Germany. In Belgium, a government agreement has been signed 8 months on, leading to their first Flemish Nationalist Prime Minister. Why did the Government negotiation take half the time as last time? And why have the right-wing Reformist Movement topped the polls for the first time in Wallonia? In Germany, Sam and Chern preview the snap election that will likely see the CDU return to power under Friedrich Merz. What has so doomed the SPD? How many parties will likely enter the Bundestag? And what has fuelled the rise of the AfD? All these questions and more answered in this week's episode.

This week's My Mission is… podcast guest is Imarn Ayton, an activist, actor, writer, and motivational speaker. She is the founder of the Black Reformist Movement, a non-profit organization focused on black empowerment and eradicating institutionalized racism. Imarn rose to prominence during the 2020 wave of the Black Lives Matter movement, following the murder of George Floyd. Before that, Ayton graduated from The Brit School of Performing Arts and later became an actor and part-time teacher. She seeks to build awareness about how racism manifests within the UK, especially the education system. In this week's episode, Ayton talks with Mission's founder and editor-in-chief Karina Givargisoff about how events in America shaped her identity, how she approaches activism, how she found her purpose. --- Support this podcast: https://anchor.fm/mission-magazine/support

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