- Taschenbuch: 168 Seiten
- Verlag: Univ of Illinois Pr (April 2003)
- Sprache: Englisch
- ISBN-10: 0252071115
- ISBN-13: 978-0252071119
- Größe und/oder Gewicht: 21,3 x 14,1 x 1,3 cm
- Amazon Bestseller-Rang: Nr. 379.731 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Pressestimmen
" ... a useful basic introduction to Kiarostami and contemporary Iranian film... The clearly written and comprehensive essays would be of particular interest and use to those interested in cultivating a richer understanding of world cinema...Since the field of Kiarostami scholarship remains regrettably sparse, this monograph is an crucial addition to film studies libraries everywhere."--Film Interational, 11, 2004:5
Kurzbeschreibung
This penetrating study of the Iranian filmmaker Abbas Kiarostami's life and work engages a cross-cultural dialogue between Mehrnaz Saeed-Vafa, an Iranian filmmaker, and Jonathan Rosenbaum, a film critic, both of whom have an intense interest in Kiarostami's work. A pioneer in Iranian cinema and considered one of the most controversial and influential filmmakers alive, Kiarostami has written or directed more than twenty films. He gained notoriety in the West in the 1990s with the breakaway films "Close-Up" and "Through the Olive Trees" and became the first Iranian director to win the Palme d'Or at the Cannes Film Festival for "Taste of Cherry". He is also largely credited for his contributions to the Iranian New Wave. Abbas Kiarostami is the first full-length, English-language study of his work. A unique and resplendent collaboration featuring two distinct but complementing perspectives, the book places Kiarostami and his films in a national context and provides American readers with valuable insights into Iranian culture, Kiarostami's portrayal of women and politics, and his influence on other filmmakers.
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Einleitungssatz
It's an unavoidable truism that any effort to nail down the specifics of a national cinematic "new wave" in an authoritative manner is doomed to a certain amount of mythmaking. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
It's an unavoidable truism that any effort to nail down the specifics of a national cinematic "new wave" in an authoritative manner is doomed to a certain amount of mythmaking. Lesen Sie die erste Seite
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Decent intro to this Iranian master
2. April 2005
Format:Taschenbuch
This book consists of a 41 page essay by Rosenbaum, a 30 page essay by Saeed-Vafa, a 22 page dialogue between the two authors and ends with 20 pages of various interviews with Kiarostami. Rosenbaum, always a strong proponent of world cinema, gives an good introduction to Iranian cinema in general and also to Kiarostami. Saeed-Vafa writes as a native Iranian and from a feminist perspective. Both essays are interesting and informative.
My major criticism comes in the dialogue between the authors: Rosenbaum uses the conversation to continue a spat he was having with fellow writer Howard Hampton, who thought Rosenbaum liked foreign directors too much and domestic directors too little. While Saeed-Vafa tries to bring the dialogue to more relevant topics, Rosebaum continually brings Hampton back up: "What about Hampton's charge that I..." and later "Maybe Hampton thinks I'm being snobbish..." He just comes off as being petty. The two authors also take shots at well-known movie critic Roger Ebert for not liking Kiarostami.
Overall, this is a good introduction to Kiarostami and I would still recommend it to those interested in him or Iranian cinema in general, but the dialogue section gets a little bogged down with the professional spat between Rosenbaum and Hampton.
My major criticism comes in the dialogue between the authors: Rosenbaum uses the conversation to continue a spat he was having with fellow writer Howard Hampton, who thought Rosenbaum liked foreign directors too much and domestic directors too little. While Saeed-Vafa tries to bring the dialogue to more relevant topics, Rosebaum continually brings Hampton back up: "What about Hampton's charge that I..." and later "Maybe Hampton thinks I'm being snobbish..." He just comes off as being petty. The two authors also take shots at well-known movie critic Roger Ebert for not liking Kiarostami.
Overall, this is a good introduction to Kiarostami and I would still recommend it to those interested in him or Iranian cinema in general, but the dialogue section gets a little bogged down with the professional spat between Rosenbaum and Hampton.
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