Response for 8-31

2. What function does repetition of locations serve both within individual films and between films? What does Bransford mean by “visual rhymes” (what is the analogy with poetry)?
The repetition of locations is to help establish an association between places and ideas. The visual rhyme is the use of a location through its repeated use to create an association with an idea.

3. According to Bransford, why does Kiarostami stage most of his action outdoors? How does this affect Kiarostami’s visual style (mise-en-scene and cinematography)?

Outdoors Kiarostami does not have to worry about censorship issues as much. Shooting outdoors creates a documentary look to his films but also allows Kiarostami to use the frame with in a frame with windows and doors. He also uses the beauty of the landscape and geometry of streets to conceal or frame characters.

7. What were some of the key changes in the second phase of his filmmaking career (1986-1988)?

His films were void of religion and revolutionary ideals. He returns to the subject of social turmoil before his concerns of the subject were warped by the ideals of the Islamic Revolution.

9. Why does Dabashi constantly use the term “sur / real” to describe Makhmalbaf’s work, particularly in the discussion of A Moment of Innocence, Gabbeh, and The Silence?
His films are seen both as realist and surrealist. He uses both actors and non-actors in roles in his films.

10. How does Dabashi position Makhmalbaf’s work in relation to discourses about colonialism?

Colonialism of Europeans puts Europeans at the top of understanding and Others outside not able to understand the world. Dabashi argues Makhmalbaf, an Other, has an understand of the world equal to that of Europeans who would discredit his sense of knowing the world.