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.

Response for 8-24

Q: 1. What are the 5 areas in which art cinema generally distinguishes itself from Hollywood Cinema?
A:
· cinematic aesthetics and practices
· shows social and psychological realism
· disturb classic realist narrative codes and conventions, as well as temporal and spatial constructions
· display formal innovations
· affirm certain directors as auteurs

Q: 2. How does Tay suggest that Kiarostami’s reception in the West relates to these 5 areas?
A: Kiarostami is seen, in the West, as an art cinema director because he often addresses cinema aesthetics and practices, questions realism, and displays social issues in his films.

Q: 3. What was Ayatollah Khomeini’s attitude towards the cinema?
A: He was against cinema.

Q: 6. What was the significance of cutting the soundtrack during the school prayer in Homework?
A: Cutting the soundtrack allows the audience the no longer be distracted by the context of the event taking place and directs the attention to the behavior of children being children.

Q: 11. Write a 50 word (or more, of course) response to the excerpt of Homework screened on Wednesday.

A: I thought the film was interesting because it shows how the relationship between children and schoolwork is universal: they don’t want to do it. Children would rather be children and play and tease and wrestle. But the film also showed and insight in to Iranian schools where children are segregated by gender; no girls were seen.
Stylistically I found it interesting how Kiarostami would show an insert shot of the camera and cameraman while the children were interviewed. This was very peculiar to me because he would draw attention to the filming itself. However, I realized it could also be a tool used in the editing of the film to bridge a hole in the dialogue of the interviewed children. Kiarostami could use J and L cuts with the insert of the cameraman filming to bridge the dialogue and not show a jump cut of the children speaking.

Ex: Visual Child answers question > Cameraman > Child continuing to answer question
Dialogue Child answers question > * > Child continues to answer question

Where the > are cuts and * is a cut of unwanted dialogue and the two answers are spliced together seamlessly.