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.