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</tr> <tr> <td> <table width="384" border="0" cellspacing="0" cellpadding="0"> <tr> <td rowspan="4" valign="top"><img class="cover" src="../../images/covers/1872843905.gif" alt="" height="139" width="100" align="top" border="0" livesrc="../../../../../../Desktop/SAFFRON/web-data/SmartObjects/1872843905.tif"></td> <td class="h3_white"> <h3><b>Abbas Kiarostami in Eastern Art Report</b></h3> <h3><font color="white">Edited by Sajid Rizvi and Shirley Rizvi</font></h3> </td> </tr> <tr> <td>2005</td> </tr> <tr> <td> <hr> </td> </tr> <tr> <td class="Biblio"> <table width="251" border="0" cellspacing="0" cellpadding="0"> <tr> <td valign="middle"><strong>Series ISSN</strong></td> <td valign="bottom">0269-8404</td> </tr> <tr> <td valign="top"><strong>ISBN</strong></td> <td valign="top">1872843905 | Soft cover | 297mm [h] x 210mm [w]</td> </tr> <tr> <td valign="top"><strong>ISBN-13</strong></td> <td valign="top"></td> </tr> <tr> <td></td> <td valign="middle">56pp</td> </tr> <tr> <td><strong>UK Price</strong></td> <td>GBP 7.95</td> </tr> <tr> <td valign="middle"><strong>Overseas Surface</strong></td> <td valign="bottom">GBP 9.95</td> </tr> <tr> <td>Shipping weight</td> <td valign="bottom">232g approx</td> </tr> <tr> <td colspan="2"><strong>Published by Saffron Books</strong></td> </tr> <tr> <td colspan="2">Distributed by <a title="More about Saffron Distribution" href="../../publisher_services/pubservs0.htm">Saffron Distriibuion</a></td> </tr> </table> </td> </tr> </table> </td> </tr> <tr> <td></td> </tr> <tr> <td> <hr> </td> </tr> <tr> <td align="right"> <h4><strong>To buy this book --</strong></h4> <ul> <h4> <li><a title="Go to Saffron Books Online Bookshop for secure World Pay card payment and purchase" href="http://www.btowstore.com/epages/Store.sf/?ObjectPath=/Shops/17146/Products/1872843905">Go to Saffron Books Online Shop now and order this and other titles of your choice, using secure WorldPay payment method</a> </h4> </ul> </td> </tr> <tr> <td align="right"> <hr> </td> </tr> <tr> <td> <h4>About <em>Abbas Kiarostami in Eastern Art Report</em></h4> <p>This is a monograph in Eastern Art Report occasional series focused on a specific subject, in this case the work on film and in photography of Irani's Abbas Kiarostami. As the edtiors point out in the editorial:</p> <p>"This is not an exercise in hagiography, though the idea of a special presentation on Iranian artist Abbas Kiarostami emerged from a London festival devoted to his films, photography and poetry. The festival, orchestrated by the London-based Iran Heritage Foundation, occurred at a time when the rumour of a US invasion of Iran was rife, strengthened by pronouncements from Washington and representatives of US allies elsewhere. The fate of Iran amid the political upheaval unleashed upon the Middle East since the invasions of Afghanistan and Iraq remains yet uncertain.</p> <p>"But art often works sideways in shaping and reshaping public opinion, and while the IHF’s aim directly may not have been to recast Iran as a civilised potential victim, the Kiarostami festival and a major Iran exhibition at the British Museum soon after that did receive press coverage at the same time as political events were unfolding over Iran’s nuclear power generation plans, role in neighbouring Iraq and other hot issues.</p> <p>"Kiarostami’s work on film indeed has brought his global audiences closer to an Iran that is markedly different from the one often depicted in the news media. As one of our authors points out, this may not have been entirely to Iran’s ultimate benefit and may even fall under the category of whitewashing an unhappy scene. This thesis itself is open to discussion, because the vocabulary employed by Kiarostami is open to interpretation, too. What is clear, however, is that Kiarostami’s work has opened the myriad worlds within Iran to communities elsewhere, communities that have been subjected consistently to subtle propaganda or just pure prejudice.</p> <p>"The point about Kiarostami often overlooked is that he is not Akira Kurosawa, a director who almost single-handed slid open the many worlds of Japan to those outside and was despised or belittled by his compatriots well after his death. Neither is he comparable to Satyajit Ray, who waged his lonely battles amid the excess and exhaustion of Bollywood and was adulated at home and abroad.<br> Kiarostami is only one of many Iranian filmmakers who have practiced their craft sparingly, in contrast to the mind-boggling output from Bollywood and Hollywood, and made their mark on international cinema within a short span of time. In that sense his work is worthy of attention not only for its own merits but also for the manner in which it draws us to the oeuvres of many other of his Iranian contemporaries, and of those younger and apparently inspired by his work. It also makes us intensely curious about the art being made in other countries that have neither the comfort and resourcefulness of Iran’s oil wealth nor its long history of exposure to other cultures but suffer instead under the singular or several weights of illiteracy, official indifference and international isolation."</p> </td> </tr> <tr> <td> <hr> <h4>Table of Contents</h4> <ul> <li>Editorial <li>Abbas Kiarostami — The Artist and the Visionary, by Geoff Andrew </ul> <p>Iranian filmmaker Abbas Kiarostami’s talent encompasses different genres and yet it never fails to touch the heart of the matter, says the London film critic</p> <ul> <li>Pulling Focus on Kiarostami’s Iran, by Roxanne Varzi </ul> <p>Abbas Kiarostami’s imagery is marked by an abundance of colour or poetical portrayals of the visually stunning Caspian region and other rural places seemingly untouched by revolution, war and mourning. Do his films gloss over the stark realities of Iran?</p> <ul> <li>New Iranian Cinema, Kiarostami and Western Audiences, by Roya Shahr-Yazdi </ul> <p>International (and mainly western) audiences tend to see many layers of meaning in Abbas Kiarostami’s films. This tendency, or interaction, carries risks and rewards</p> <ul> <li>Kiarostami at Home and Abroad, by Janet Lazarian </ul> <p>International plaudits are well and good but Abbas Kiarostami’s most precious constituency remains at home, among Iranians who may not see all of his oeuvre</p> <ul> <li>Kiarostami and the Arab Middle East, by Lulu M Al Sabah </ul> <p>There is much to be shared by Iranian filmmakers such as Kiarostami and Arab auteurs and audiences, but many hurdles mar exchange, dialogue and distribution of films from the region</p> <p>Plus regular features including…</p> <ul> <li>Books — reviews of <li>The Secret of Laughter: Magical Tales from Classical Persia, by Shirley Rizvi; <li>Women And Media In The Middle East: Power Through Self-expression, by Sajid Rizvi; and <li>100 Myths About The Middle East, by Sajid Rizvi <li>Art Events Worldwide -- Listings of current and forthcoming exhibitions in public and commercial galleries, conferences and other art events <li>Index to Back Issues </ul> </td> </tr> <tr> <td></td> </tr> <tr> <td></td> </tr> <tr> <td></td> </tr> <tr> <td></td> </tr> <tr> <td></td> </tr> <tr> <td></td> </tr> <tr> <td> <hr> <h4>Free Downloads [Please see notes on <a href="../../rights_and_syndication/copyright0.htm">Copyright</a>]</h4> </td> </tr> <tr> <td> <h4></h4> <h4><a title="Abbas Kiarostami | Edited by Sajid Rizvi and Shirley Rizvi" href="ear50_editorial.htm">Editorial (as above, original page from EAR50]</a> (pdf)</h4> <h4>* Order Form to Print and Fax Back (pdf, 141k)</h4> <ul></ul> </td> </tr> </table> <h2></h2> <p></p> </div> </td> <td valign="top"> <div></div> <div align="left"> <table width="160" border="0" cellspacing="0" cellpadding="0" align="left"> <tr> <td> <h4><img src="../../images/furniture_items/Search4Books160.gif" alt="" width="160" height="18" align="top"></h4> </td> </tr> <tr> <td></td> </tr> <tr> <td></td> </tr> <tr> <td> <p><b>To search for a Saffron Book title, author, ISBN or ISSN or subject, choose 'Saffron 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