Download Cinemas of the Other: A Personal Journey with Film-makers by Gonul Donmez-Colin PDF

By Gonul Donmez-Colin

An unique selection of contemporary interviews with filmmakers whose works characterize the traits within the movie industries in their respective international locations. previous the interviews, the writer presents an creation delineating historic information about the movie industries of the nations incorporated within the ebook. each one interview contains of stills from vital motion pictures mentioned and a bio/filmography of the artist. as well as inventive matters, the focus of the interviews is to place the filmmaker in the social or political context in their respective kingdom. The remarkable style in ways in the direction of each one interview creates a wealthy variety of tone and an overpowering effect of animation in the textual content. Cinemas of the Other bargains a delicately researched and specified first-hand account at the advancements and developments in particular local movie industries.

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In our country, it is not a luxury: if you are troubled by some problems, there is nothing to do except to become an alcoholic or a drug user. qxd 42 27/3/06 3:35 pm Page 42 | CINEMAS OF THE OTHER: A PERSONAL JOURNEY FROM THE MIDDLE EAST AND CENTRAL ASIA like a dervish, which is a mental high similar to the one induced by religion or the physical high induced by drugs. These are all means to step out of reality. Was he an actor or a junky? He was a junky. If the shooting took longer, I would have become a junky myself because of this guy!

The first group graduated in 1931 and at the same time the first production of Ohanian and his students, Abi and Rabi, was screened at Mayak cinema. Khan Baba Khan Mo’tazedi, an engineer, served as the cinematographer for the film, using a Gaumont camera. The first Persian language sound feature, Dokhtar-e Lor/The Lor Girl (1933), was made in Bombay, India, by two Iranians living there, Ardeshir Irani and the expatriate poet Abdolhossein Sepanta. Irani wrote the story and Sepanta penned the dialogues and lyrics and acted in the film.

The following interview took place during the Nantes Festival des 3 continents in November 2000, where a retrospective of Mahmud Kalari’s work was held. VALUABLE LESSONS OF CAMERA How does one become a director of photography in Iran? Is there a tradition of apprenticeship to master? Is formal academic training necessary or advantageous? Many cinematographers start as assistant cameraman and learn from others. Some study at schools. Let me tell you a little bit about our film history. First Iranian film, Abi Va Rabi/Abi and Rabi was directed in 1930 by Ovanes Ohanian, an Armenian who was educated in Russia at the High Cinema School of Moscow.

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