Ehsan Khoshbakht (London), assistant editor. Includes bibliographical references and index.
Contents:
Notes from the assistant director: Kiarostami has location cancer! / Jafar Panahi -- Discovering the charm of secondary people: the white balloon / Omid Rouhani -- Empathy and understanding / Film monthly -- A conversation with Jafar Panahi: cinema without emphasis / Majid Eslami and Houshang Golmakani -- Jafar Panahi / Liza Béar -- An interview with Jafar Panahi: honest to god, he is not a copycat / Ahmad Talebinejad -- An interview with Jafar Panahi, director of The Mirror / David Walsh -- No lies to the audience / Film monthly -- An interview with Jafar Panahi, director of The Circle / David Walsh -- The case of Jafar Panahi-an interview with the director of The Circle -- Stephen Teo -- An open letter to the us national board of review of motion pictures / Jafar Panahi -- Crime and self-punishment in Tehran / Richard Porton -- An interview with Jafar Panahi, director of Crimson Gold / David Walsh -- A soccer match to imagine: an interview with Jafar Panahi on offside / Majid Eslami -- Report to history: a conversation with Jafar Panahi / Massoud Mehrabi -- Offside rules: an interview with Jafar Panahi / Maryam Maruf -- A response to Ahmad Talebinejad's letter: none of my people reaches old age / Jafar Panahi -- Jafar Panahi interview (parts one and two) / Peter Keough -- Jafar Panahi's video statement on arte / Jafar panahi -- Jafar Panahi's defense / Jafar Panahi -- An open letter to the Berlin Film Festival / Jafar Panahi -- Iranian director flouts ban on filmmaking / Tobias Grey -- "In prison, I had some peace of mind": Jafar Panahi on Closed Curtain / Vadim Rizov -- If Taxi Tehran could have been presented in Iran, I would have withdrawn the film from the official competition at the Berlin Film Festival / Iranian Labour News Agency -- This is not an interview / Ehsan Khoshbakht and Drew Todd.
Summary:
"Iranian filmmaker Jafar Panahi (b. 1960) is as famous for his remarkable films as for his courageous defiance of Iran's state censorship. Panahi achieved international recognition with his feature film debut, The White Balloon, the first Iranian film to receive an award at the Cannes Film Festival. His subsequent films--The Mirror, The Circle, and Offside--continue to receive acclaim throughout the world, yet they remain largely unseen in his own country due to years of conflict with the Iranian government. In spite of multiple arrests, a brief imprisonment, and a ban on making movies and giving interviews, Panahi speaks openly and passionately in this unique, invaluable collection of twenty-five interviews, open letters, and his own court statement, in which he makes a compelling case for artistic freedom and humanism. Many of these documents have been translated from Persian and appear in English for the first time, including an interview done exclusively for this volume. In sparkling, lively interviews, Panahi reveals his influences, politics, and filmmaking practices. He explains the challenges he faces while working within (and often around) Iran's heavily restricted film industry, providing the reader a unique vantage point from which to consider Iranian cinema and society." -- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.