Underline#3: The Farsi Edition

این شماره شاید ضروری‌ترین شمارۀ دورۀ جدید آندرلاین باشد. در پروندۀ ویژۀ این شماره تمرکز بر زنان هنرآفرین در ایران نیم قرن گذشته است. در عنوان روی

جلد هیچ اغراقی در کار نیست: نقش زنان در ایران دورۀ مدرن خیره‌کننده بوده و تازه به خاطر گرایش ویژۀ ما به هنر، نقش زنان در آموزش، علم، صنعت، سیاست و تجارت در نظر گرفته نشده است.

این شماره هم‌چنین تا حد زیادی متکی بر شنیدن صدای خود زنان هنرمند است و مصاحبه، فرم غالب متون پیش روی شما خواهد بود. این فرصت و افتخار را داشته‌ایم تا با چند نسل از زنان هنرمند در حوزه‌های مختلف به گفت‌وگو بنشینیم. در وبسایت ما گفت‌وگوهای بیشتری در تکمیل موضوع این شماره پیدا خواهید کرد.

هشت مقاله اول دیدگاه‌های کلی یا جزیی نویسندگانش از حضور و تأثیر زنان فعال در معماری، سینما، تئاتر و هنرهای تجسمی هستند. هفت متنی که در پی آن می‌آیند، مصاحبه‌هایی در تکمیل یا گسترش و چه بسا در تعارض با تئوری‌های بخش اول است. در این بخش از اولین رهبر ارکستر زن در ایران تا چند نفر از شناخته شده‌ترین نویسندگان، فیلمسازان و هنرمندان تجسمی با آندرلاین گفت‌وگو کرده‌اند. مضمون این شماره به کنار، بیشتر همکاران و نویسندگان و مترجمانی که در تهیه این شماره با ما کار کرده‌اند زنان هستند و من بسیار از دقت نظر و حرفه‌ای‌گری آن‌ها بهره برده‌ام.

A Hollywooder in the Land of Persia: Remembering Esmail Koushan (by Nima Hassani-Nasab)

Originally written by my friend Nima Hassani-Nasab for Underline -- the magazine I edit for the British Council -- I'm reposting it here with the intention of adding more images and posters of the notoriously prolific filmmaker Esmail Koushan. - EK


Was Esmail Koushan ‘the father of Iranian cinema’? Did he father a monstrosity? Several decades after the career of this noted figure ended, these questions still have no clear answer.

History accords to Dr Koushan an indisputably important role in the development of the Iranian film industry. An appreciation of this fact, and of Koushan’s considerable efforts as pioneer and influence within the industry, has meant that his renown has endured regardless of the quality and value of his works from an aesthetic perspective. He deserves credit for his stubborn and combative efforts to ensure the development of a professional production process in every area of the industry; from this point of view, Koushan certainly has the right to be considered the father of Iranian cinema.

Il Cinema Ritrovato XXXII: The Cinema of John M Stahl

IMMORTAL IMITATIONS: THE CINEMA OF JOHN M STAHL
Programme curated by Ehsan Khoshbakht

Concealed identities, troubled yet enduring love affairs, tragic destinies assuaged by altruism and sacrifice... The films of John M Stahl treat familiar subjects and themes with a striking sense of fluency and directness. Favouring a certain bareness and modernity in both feeling and style, Stahl's work has proved to have a lasting emotional power despite earlier critical neglect.

In collaboration with The Pordenone Silent Film Festival, Il Cinema Ritrovato revisits the work of this master of melodrama, and one of American cinema's unsung auteurs. The silent The Woman Under Oath (1919) will be screened in Bologna as a warm-up to a larger retrospective in Pordenone, which will include the majority of Stahl's surviving silents (1917-27). Our overview of Stahl's career during the sound years, noted for its 'audacity' by critic Andrew Sarris, covers both his features made for Universal Pictures, as well as lesser known but equally captivating films made for 20th Century Fox. In both cases one discovers many shades in the work of a single artist, from bright and comic to dark and fatalistic.

Interview with Masoud Kimiai

Originally published in 2014 on Keyframe in conjunction with Edinburgh International Film Festival's retrospective on Iranian New Wave. -- EK


Masoud Kimiai (born 1941)

In his home country, he is the most popular filmmaker of his generation. Elsewhere, his ultra-masculine dramas of camaraderie, revenge and male bonds are rarely seen, and if seen, hardly appreciated. He's never been an international film festival darling.

He contributed to the birth if a "different cinema" in Iran by making the rape/revenge thriller Qeysar (1969). His other key film, The Deer (1974), keeps appearing triumphantly in Iranian polls, often winning the title of "the best film in the history of Iranian cinema."

Kimiai makes no bone about his love for classical Hollywood and genre cinema. He grew up going to Tehran's second run cinemas which were mostly playing westerns and crime films. A decade later and before tuning director, he assisted a visiting Hollywood pro, Jean Negulesco, during the shoot of a co-production (The Invincible Six). In a sense, Kimiai's cinema since the 1960s has been a persistent and relentless reinterpretation of the American films he has loved in his youth and trying to marry that, sometimes with stunning results, to a politically-conscious cinema.

He answered my questions on a piece of paper. He loves real, physical things: papers, wrist watches, and hats. The answers are not necessarily responding to the questions but then they might be even more interesting.

The Night It Rained (Kamran Shirdel, 1967)

From my Iranian New Wave programme notes, Il Cinema Ritrovato, Bologna, 2015. The world premiere of the restored version (2K). -- EK

PS: Playing in London on March 16, 2018. [+]


OON SHAB KE BAROON OOMAD YA HEMASE-YE ROOSTA ZADE-YE GORGANI
Iran, 1967 Regia: Kamran Shirdel
T. int.: The Night It Rained or the Epic of the Gorgan Village Boy. Scen.: Esmaeel Noori Ala, Kamran Shirdel. F.: Naghi Maasoumi. M.: Fatemeh Dorostian. Int.: Nosratollah Karimi (narrator/interviewer). Prod.: The Ministry of Culture.

Shirdel and cameraman Naghi Maasoumi on the set

This satirical documentary film offers a crash course in 1960s Iran. A newspaper story of a heroic village boy who prevented a train disaster appears and spreads quickly. The incident, reported on and challenged by local officials and journalists, is soon doubted and leads ultimately to confusion, with nobody knowing exactly who has saved whom.