Fereydoun Rahnema

Fereydoun Rahnema (Persian: فریدون رهنما; b. 1930 – d. 1975) was an Iranian film director and poet. He is most known for his 1960 short film, Takht-e Jamshid (Persepolis), and his feature film, Siavash dar Takht-e Jamshid (Siavash in Persepolis) in 1965. Although none of his films saw a theatrical release, they were highly influential within the Iranian New Wave movement. He also served as the director of Iran Zamin from 1966 to 1975.[1]

Rahnema studied film in Paris, France. He began work on Siavash dar Takht-e Jamshid with funding from a number of acquaintances.[2] Shot in studio and on location in the ruins of Persepolis, the film is based on Ferdowsi's poetic epic Shahnameh.[3] It tells the story of Crown Prince Siâvash who leaves his homeland in order to avoid dishonoring his father Shah Kay Kāvus. He marries the daughter of the local king Afrasiab, but is betrayed and murdered. The film is notable for its then-uncommon temporal experimentation with footage of tourists trekking through the ruins of Persepolis interspersed with the older setting.[4]

Filmography

  • 1960 "Takht-e Jamshid" (Persepolis)
  • 1965 "Siavash dar Takht-e Jamshid" (Siavash in Persepolis)
  • 1973 Pesar-e Iran az Madarash Bi ettela' Ast (Iran's Son is Unaware of His Mother)

Siavash at Persepolis

Siyavosh at Persepolis tells the story of the Crown Prince of Iran, Siyavosh, who after a falling-out with his father leaves Iran and settles in Turan. There he marries the daughter of King Afrasyab and is killed in a plot by the king’s scheming and jealous son. The film combines this ancient story with documentary-style scenes of foreign tourists visiting the ruins of Persepolis in the present, creating a work in which past, future, present, legend, theater and a myriad of filmic forms are combined in a dense intertextuality that was new to Iranian cinema.[5]

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gollark: ``` _________________________________________ / However, on religious issures there can \| be little or no compromise. There is no || position on which people are so || immovable as their religious beliefs. || There is no more powerful ally one can || claim in a debate than Jesus Christ, or || God, or Allah, or whatever one calls || this supreme being. But like any || powerful weapon, the use of God's name || on one's behalf should be used || sparingly. The religious factions that || are growing throughout our land are not || using their religious clout with || wisdom. They are trying to force || government leaders into following their || position 100 percent. If you disagree || with these religious groups on a || particular moral issue, they complain, || they threaten you with a loss of money || or votes or both. I'm frankly sick and || tired of the political preachers across || this country telling me as a citizen || that if I want to be a moral person, I || must believe in "A," "B," "C," and "D." || Just who do they think they are? And || from where do they presume to claim the || right to dictate their moral beliefs to || me? And I am even more angry as a || legislator who must endure the threats || of every religious group who thinks it || has some God-granted right to control || my vote on every roll call in the || Senate. I am warning them today: I will || fight them every step of the way if || they try to dictate their moral || convictions to all Americans in the || name of "conservatism." - Senator Barry || Goldwater, from the Congressional |\ Record, September 16, 1981 / ----------------------------------------- \ ^__^ \ (oo)\_______ (__)\ )\/\ ||----w | || ||```I need a cowsay command.
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References

  1. Issari, Mohammad Ali (1989). Cinema in Iran, 1900-1979. Scarecrow Press. pp. 191–239. ISBN 0-8108-2142-7.
  2. Rahnéma, Farideh (2004). Siavacch à Persepolis. Nashré Ghatreh. ISBN 964-341-348-9.
  3. Egan, Eric (2005). The films of Makhmalbaf: cinema, politics & culture in Iran. Mage Publishers. p. 32. ISBN 0-934211-95-7.
  4. Gugler, Josef (2011). Film in the Middle East and North Africa: Creative Dissidence. University of Texas Press. p. 45. ISBN 978-0-292-72327-6.
  5. Gugler, Josef (2011). Film in the Middle East and North Africa: Creative Dissidence. University of Texas Press. p. 45. ISBN 978-0-292-72327-6.
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