• Title/Summary/Keyword: Iranian cinema

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A Study On The Iranian Woman Film Director: Samira Makhmalbaf - Centering on (1998), (2000), (2003) (메타포(metaphor)에 틈입한 리얼리티(reality): 이란 여성감독 사미라 마흐말바프(Samira Makhmalbaf) 연구 - <사과(The Apple)>(1998), <칠판(Blackboards)>(2000), <오후 5시(At Five in the Afternoon)>(2003)를 중심으로)

  • Kang, Nae-Young
    • The Journal of the Korea Contents Association
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    • v.20 no.3
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    • pp.275-285
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    • 2020
  • The purpose of this study is to explore the Iranian Woman Film Director Samira Makhmalbaf and her cinema world. Samira represents Iranian Islamic social problem base on her woman identity, and She is a symbolic director who is working Iranian new wave at the 21th. She has directed five movies as (1998), (2000), (2002), (2003), (2008). For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Iranian film history. In terms of esthetics, she tends to combinate between metaphor and reality, And, In thematic consciousness, consistently describes Islamic women's lives and liberty, anti-war and peace, sympathy for the under-privileged, etc. She inherits the tradition of Iranian third wave 'Children Cinema', and simultaneously tries to overcome Iranian art film tradition. Director Samira Makhmalbaf is a symbol of progress and change in Iranian film history, and is opening the new future of Iranian film.

WHEN SHAKESPEARE TRAVELS ALONG THE SILK ROAD: TARDID, AN IRANIAN ADAPTATION OF HAMLET

  • GHANDEHARION, AZRA;JAGHRAGH, BEHNAZ HEYDARI;SABBGH, MAHMOOD GHORBAN
    • Acta Via Serica
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    • v.2 no.1
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    • pp.65-84
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    • 2017
  • Media has become an inseparable companion of $21^{st}$ century culture, exerting immense influence on our daily lives. This article aims to reveal how cultural aspects and media in a particular part of the Silk Road have adapted Western cannons. Iran has redefined and transformed Western culture through the modern Silk Road by the method of cinematic adaptation. Karim-Masihi employs the general plot of Hamlet, the well-known drama by William Shakespeare (1564-1616), in his movie Tardid (Doubt 2009); however, he transforms some of the characters to reflect the current socio-cultural aspects of Iranian society. One of the characters is named Siavash, whose life is similar to Hamlet. In passivity, he awaits his imminent death and other tragic consequences. Yet, the movie ends differently. It is not an Elizabethan tragedy in a strict sense, although the final scenes abound with corpses. This article aims to find the similarities and differences between the two works, while reasoning the significance of the alterations. It concludes with how different cultures react to the same themes.