Iranian Cinema and Philosophy: Shooting Truth (Literatures and Cultures of the Islamic World)
Format: PDF / Kindle (mobi) / ePub
In film studies, Iranian films are kept at a distance, as 'other,' different, and exotic. In reponse, this book takes these films as philosophically relevant and innovative. Each chapter of this book is devoted to analyzing a single film, and each chapter focuses on one philosopher and one particular aesthetic question.
difficulty we have is that we discard interconnectedness when we reduce movement to space; the two are incommensurate (Rodowick, 1997: 141). As How Orphans Believe ● 19 duration, movement qualitatively alters things. Even basic numbers, for Bergson, are not immune from duration. Tradesmen are well aware of it, and instead of indicating the price of an object by a round number of shillings, they will mark the next smaller number, leaving themselves to insert afterwards a sufficient number of
as this image is politically forced to stand, to conserve itself, cinema is a liberatory space. The link between man and the world is broken. Henceforth, this link must become an object of belief: it is the impossible which can only be restored within a faith. Belief is no longer addressed to a different or transformed world. Man is in the world as if in a pure optical and sound situation. The reaction of which man has been dispossessed can be replaced only by belief. Only belief in the world can
self-possession and its autonomous agency (Deleuze, 1986: 142). “Time-image,” postwar cinema, is the cinema of reflection, of rediscovery, of “dwelling” in the world, to put it in Heidegger’s terminology. The Iranian Revolution is a similar, if not a more (locally) profound, experience of displacement. The alienation of the Persian community runs deep, as neither the West nor the Persian community’s own past Islamic tradition can serve as guiding stars; the revolution has been a disaster in the
true sense of the word. Iranian cinema, particularly in the hands of Kiarostami, allows for collective reflection. Moreover, unlike poetry, which is more private, cinema is public by design. Heidegger should rest assured that Kiarostami’s films are not aesthetically pleasing; they are not meant to entertain and distract. In fact, even though they are produced with new technology, they are not part of the “culture industry”(Adorno, 1991). With Kiarostami, film clears a space for thought and
what she wants. Parents interpret for the infant her own desire, by asking “Are you hungry?” and feeding her immediately: There is perhaps a sort of general discomfort, coldness, or pain, but its meaning is imposed, as it were, by the way in which it is interpreted by the child’s parents. If a parent responds to its baby’s crying with food, the discomfort, coldness, or pain will retroactively be determined as having “meant” hunger, as hunger pangs. One cannot say that the true meaning behind the