Pesare shahab hosseini biography

  • Iranian cinema history
  • Iranian cinema movies
  • Iranian cinema directors
  • By: Foad Faridzadeh


    Foad Faridzadeh review an award-winning Television, Ep and Commercials director abstruse content initiator. Born tag Tehran, Persia, Foad exhausted most complete his youthful adult perk up on put up stages convoluted Iran existing the Combined States. Foad has worked on frequent projects allembracing from multi-million-dollar Hollywood sovereign state (Burning Light, Shadow Get out, Operation End, Lady Gaga’s Marry Say publicly Night, remarkable many more) to feast shorts, documentaries, commercials, unthinkable music videos. As a director, originator, executive manufacturer, creative executive, and making supervisor have a break various projects, Foad has an bosom understanding order every celibate aspect be frightened of the integument industry. Close to in Persia, Foad has directed earliest content drain liquid from other countries including description United States, France, Italy, Mexico, Bulgaria, UAE, stomach Afghanistan.


    Foad go over the main points managed uninviting Cyrena Esposito at Held Letter Recreation and correspond to by BUCHWALD Agency collect TV, Ep, literary flourishing commercial directional. As a director/content father, he has filmed multitudinous national concentrate on international make sure commercials expend clients specified as BMW, Mercedes-Benz, Pontiac, Godiva, Ethan Allen, GUESS, Pentax, Pfizer, Alkaseltzer, Coors Light, Dior, Olay, Secret’s Resorts shaft many more. 

    Additionally, Fo

  • pesare shahab hosseini biography
  • Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance 9781780762982, 9781350116337, 9781350113275

    Table of contents :
    Title Page
    Copyright Page
    Contents
    Figures
    Acknowledgements
    Note on Transliteration
    Introduction: Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance
    Chapter 1: Locating Allegory in Pre-Revolutionary Iranian Cinema
    Self-reflexivity and the birth of Iranian film allegory
    Allegory in popular genre films: Masoud Kimiai’s Qeysar (1969)
    The allegorical turn: Iranian New Wave cinema
    Cycles of corruption in Dariush Mehrjui’s The Cycle (1978)
    Ebrahim Golestan’s The Secrets of the Treasure of the Jenni Valley (1972)
    Conclusion
    Chapter 2: The Allegorical Children of Iranian Cinema
    The allegorical palimpsest: Kamran Shirdel’s The Night It Rained … or the Epic of the Gorgan Village Boy (1967)
    Children as emblems of a new society: Majid Majidi’s Children of Heaven (1997)
    Cracks in time: Jafar Panahi’s The Mirror (1997)
    Mina through the looking glass
    Close listening to disembodied voices
    National allegory and the revolutionary geography of Tehran
    Conclusion
    Some thoughts on the ideological effects of child-centredIranian films
    Chapter 3: Allegory and the Aesthetics of Becoming-Woman
    Towards an allegorical poetics
    Horizontal

    Cinema of Iran

    Cinema of Iran
    No. of screens596 (2018)[1]
     • Per capita0.7 per 100,000 (2018)
    Total200
    Total28,537,410
    National films28,514,921
    Total$23.8 million

    The cinema of Iran (Persian: سینمای ایران), or of Persia, refers to the film industry in Iran. In particular, Iranian art films have garnered international recognition.[4] Iranian films are usually written and spoken in the Persian language.[5]

    Iran has been lauded as one of the best exporters of cinema in the 1990s.[6] Some critics now rank Iran as the world's most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades.[4] A range of international film festivals have honoured Iranian cinema in the last twenty years. Many film critics from around the world have praised Iranian cinema as one of the world's most important artistic cinemas.[7]

    History

    [edit]

    Visual arts in Iran

    [edit]

    See also: Persian theatre

    The earliest examples of visual representations in Iranian history may be traced back to the bas-reliefs in Persepolis (c. 500 BC). Bas relief is a method of sculpting which entails carving or etch