2 items from 2013
Above: Mehrnaz Saeed-Vafa.
Cinephilia & Revolution
A familiar practice in Persian film literature is that of the “cinematic memoir”—personal reminiscences of the film culture of pre-Revolutionary Iran.
Bolstered by a nostalgic tone, these autobiographical texts deal with the themes of childhood, adolescence and encounters with cinema in a Westernized Iran. The authors of such memoirs frequently depict Iran as a haven for cinephiles. Considering the number of films that were shown in pre-Revolutionary Iran and the diversity of their origins, this may be taken as an accurate characterization.
Such melancholic documentations of the past echo the feelings of a generation lost, misplaced and confused after the Revolution; people who are utterly unable tore-situate themselves in the new post-Revolutionary nation and after the trauma of an eight year war. However, this longing for a paradise lost can function as a kind of subjective history of film culture in Iran; while by »
- Ehsan Khoshbakht
In the 1980s, there was a belief by a lot of old-timers in the business that the corporate culture of the decade with the downfall of professional wrestling in their era. But now in 2013, I honestly think another culture has infiltrated the business and may be the end of wrestling as we know it. What can the scourge of wrestling be these days? I think all you have to do is look at the WWE and you have your answer. Hollywood.
Now, you may hear that and instantly think of talking about The Rock. I’m not. Vince McMahon has said in multiple interviews that he calls what they do “making movies” and a “variety show” instead of professional wrestling. The chairman of the WWE is desperate for acceptance by the entertainment media wanting them to see him as an equal in the media conglomerate space. The word wrestling had »
- Paul Jordan
2 items from 2013
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