Nov. 9/11

1. Since the end of the Cold War nationalism has lead many different countries in search of a national identity. Countries that were developed after the end of the Cold War in europe or the middle east could now create their own unique sense of nationalism based on their the traditions and heritages that exist within their country unbiased to the traditions of the super powers that influenced them before. Avisar stress's the sense of the "imagined community" because different nations in search of an identity distinguish themselves from other nations with common heritages and cultural similarities that they have stamped as uniquely theirs. Nationalism can now be viewed in a positive, non aggressive light that gives countries that were heavily influenced by global superpowers their own sense of pride and ownership of their culture. Although the means in which you establish a national identity can lead to altercations between nations, such as Israel and Palestine.

2. The three driving forces behind guiding the movement for Zion are:

a) The Jewish "everlasting quest to return to Zion" after being exiled.

b) The desire to escape antisemitism the exists around the world and has been catastrophic to the Jewish people.

c) The 19th century european attitude and desire for a unique cultural and national identity that distinguishes one country from another.

-This relates to Anderson's definition of a nation in that the general persecution of the Jewish people and their differences with other cultures unites them as a nation, which in turn forced them to take action in order to establish their historic homeland and live as a common people free from persecution.

3. Before the establishment of a Jewish nation their customs and cultures were based on the local traditions of the Jewish people they had established in their communities around the world. Different Jewish traditions were created in different parts of the world based on their local traditions.

4.

5.

Oct. 26/28

"Hou Hsiao-Hsien reviewed"

1. "If the reviews of Hou's films did not sell Hous's films, what were they actually selling?" Since Hou's movies were hardly screened in the countries in which the magazines reviewing Hou's films came from, besides small art cinema screenings, the magazines use these reviews to to create guidelines or "manuals" of how to view these films in their domestic market. ( I had trouble finding a clear answer for this question)

3. The point Vitali is trying to prove by showing the extended Assayas example is the French filmmakers animosity towards Hollywood. Assayas is trying to portray Hollywood as a poisonous, imperialist industry taking over Taiwan just as it did after the national cinemas of France and Britain became overwhelmed with the mass global exhibition of Hollywood.

4. The term "propose injunctions not to" is very awkwardly worded, and I take it as Vitali claiming that the critics who "propose injunctions not to take into account historical references" are wrong because the majority of people do not know the historical facts which allows for a special experience for those who do know. Vitali also claims that critics falsely label Hou's style as strictly Taiwanese and untainted by foreign cinemas such as Hollywood, but in reality Hou shares the same filmic language as most filmmakers with his own unique style.

"The times of subjectivity and social reproduction"

1. Willemen does not love Hou's films complexity because he believes that even though a film may be complex it does not automatically make the film good. He says that bad films can also be complex. I agree with Willemen on this issue because I believe, as he does, if you look hard enough into any piece of art you can find meanings and "fascinating topics" that may have not originally meant to be there (I like to call them happy accidents).

2. Willemen does not love Hou's films because of their "Tawianness" because he feels that Hou only offers one glimpse of Taiwanese culture. For critics to say his films depict the identity of Taiwan is ridiculous because it is such a limited view. Willemen says if he wants to get an idea of the culture of Taiwan he isn't going to watch a Hou movie because their are many more aspects of the culture that aren't depicted in his films.

Oct. 19/21

1. After World War II Taiwan's government affairs were transfered back to China after fifty years of colonial rule by Japan. After the fifty years of colonial rule Taiwan developed more Japanese cultural traits including language. This made communication difficult between the Taiwanese citizens and their new government, and soon after the new corrupt national government disallowed native Taiwanese citizens political power. On February 27, 1947 a group of policemen and officials from the government tobacco monopoly assaulted a women while trying to confiscate her smuggled cigarettes. The native Taiwanese population was outraged, and the next day, February 28, 1947, rebellions started across Taiwan. The national government brutally smashed the rebellion and arrested and executed anyone they thought capable of leading another rebellion. Some 18-20,000 Taiwanese citizens were killed.

2. City of Sadness was criticized by a select group of film critics because they did not agree with the way Hou depicted the history of Taiwan during that time period. The way I read it was Hou danced around the historic issues of the time, and instead of using the film to sternly comment on the events of that period Hou tip-toed around it by making the film more of a melodrama. Although they criticize Hou for being "ambiguous" I don't see how he could make a historically accurate film if the public doesn't even know the extent of what happened.

3. To be continued...

9/10

2. The restrictions of the Rules of Modesty heavily focus on the sexualization of women and heterosexual relationships. Women's bodies are a huge issue because the censors believe women's bodies are objects of sexual desire. In order to combat this censors force women to wear clothes that hide the shape of women's bodies and also force women to veil their heads while being filmed. Unrelated men and women were not allowed to be shown in the same room and they are unable to exchange eye contact with a male that may be deemed sexual. Film form was also effected by modesty laws. Close-ups, point of view shots and eyeline matches were also found unsuitable by the censors as well because they may sexualize women and allow unrelated men and women to view one another.

3. Makhmalbaf's quote basically states that the Iranian film viewers understand cinematic language differently than film viewers of the West because the art of the techniques used by filmmakers in the west, such as sight lines, lighting, mise-en-scene, are unfamiliar to Iranian viewers because they are unfamiliar with western art. Iranian cinema has created its own uniquely Iranian filmic language that was created by things such as modesty restrictions and the fact Iran does not assimilate themselves with the east of west. The Iranian filmmakers created different techniques to provide the viewers with the meanings of their film.

4. Many feminist object that the rules of modesty take away elements of everyday realism. The rules of modesty require them to veil their heads while they are on camera, and although these rules do not apply in every day life women are required to veil their heads while they are indoors, sleeping, and in the presence of their husbands and family. Although female characters have been viewed in post-revolutionary Iranian films as pure, abiding housewives many feminist Iranian filmmakers are gradually changing this unrealistic image of Iranian females, and in doing so have also influenced their male colleagues to do the same.

5. The feminist debate differs domestically and internationally in that domestically their films try to depict an Islamic ideal of women to encourage illiterate Iranian women to do as those in the films. Internationally, however, the images of female Iranian women may seem ideal, but when looked into further may be interpreted as stereotypical.

6. The use of color in Mottahedeh's Gabba is used as a tool to break up narrative continuity assimilated with the west and to undermine the global views of cinematic realism. Color is used as a tool to question the standard conventions of "dominant" global cinemas.

Aug. 31/ S. 2

6. Makhmalbaf's first three films reflected his attitude at the time, a revolutionary "religious visionary" full of propaganda and certain metaphysical beliefs. The films reflect the period in which they were made with situations that were occurring at the time, such as the Iran-Iraq war, and also dive into his religious, metaphysical views as well. Makhmalbaf's films glorify his idea of Iranian art really was.

7. In 1986-1988 Makhmalbaf's films lost their sense of religious and revolutionary propaganda while commenting to comment on social concerns except this time he did not use the social concerns as a tool for "ideological warfare." Although considered a post-revolutionary Islamic intellectual, unlike other Islamic intellectuals who were now abusing their power Makhmalbaf was an intellectual that spoke for the poorer and lower class citizens of Iran, earning him much fame and respect from these classes.

8. In the 1990's Makhmalbaf began to embrace and celebrate Iranian cinema in his films, in which he overtly comments on other filmmakers movies and apologizes to filmmakers he may have insulted as celebrates and "makes love" to Iranian cinema. After his wife's death however, he takes time away from film making but returns with a surrealist style that backbone two of his movies as they explore madness and nightmare.

Bransford Article:

1. Although I am having a little trouble with this concept what I think it means is this: Bransford claims that Kiarostami uses both real and imaginary spaces and places as in places, which are often viewed multiple times during the film, often are used to associate that one location with a certain emotion, meaning, or a paused location that is "a centre of felt value." Spaces are often movement oriented segments in the film such as driving in a car. These spaces in the car also serve as metaphors that can address certain narrative or social situations to be interpreted by the viewer. Correct me if I'm wrong or lead me in the right direction....

3. Bransford claims that Kiarostami stages most of his action outdoors to avoid censorship problems. Women and men aren't allowed to be in the same indoor space without being blood related or married, and they also require female actresses to conceal their hair indoors in the movies although in normal life they usually wear their hair uncovered indoors. To avoid a skewed of reality Kiarostami chooses to avoid indoor shots, but often films open doors and thresholds to allow the viewer to imagine what is going on indoors.

Aug. 24/26 Continued...

4. In an attempt to revive the struggling Iranian film industry under the leadership of Mohammed Khatami they banned the commercial distribution of videocassettes. By banning the commercial distribution of videocassettes it would reduce the amount of foreign films being sold and shown in Iran, and it would encourage the growth of the domestic film industry. The Iranian government also reduced the municipal tax for showing Iranian films from 15% to 5% and raising the tax for showing foreign films from 20% to 25% encouraging the "circulation of national productions."

5. Domestic audiences for Iranian films rose due to the tax incentives provided by the government, the government ban of certain foreign films, the reopening of some cinemas after the revolution, and the steady increase of domestic productions.

Aug. 24/26

11. The excerpt from Kiarostami's Homework was a very different, but interesting clip. It became evident during the interviews with the children that Kiarostami was trying to exploit the children's youthful ignorance to send a message about the school system and their family life. What was most shocking to me was the young boy describing how he wanted to be a fighter pilot so he could kill Sadam. Responses like that emphasize the differences between our two country's cultures. Each child's reaction to Kiarostami's questions told a story to the viewer about that child's life inside and outside of school.

1. Reflexivity, social realism, emphasis on aesthetics of the film, international audiences, film festivals screenings

2. Tay suggests that Kiarostami is a very respected art cinema director. Kiarostami's underlying social and political messages may be misunderstood to the international audiences due to cultural differences and the lack of knowledge of Iran's current events. To combat this Kiarostami often comments before each screening about the happenings and situations going on in Iran.