by Saman Sadeghi A look at the performance of one of the youngest producers and filmmakers of Iran’s national cinema, “Mehdi Moniri”.Published in Film Magazine – No. 3231 (February 1400) “Lotria” directed by Ali Atshani and produced by Mehdi Moniri and a respected artist and a group of Mexican and American actors tells the story of a young man who decides to travel in order to reach the end ofthe world and live in the United States.The determination to migrate in this direction is faced with many strange events and difficulties,which suddenly opens a new window for him through his eyes to see the world and also the land he came from. This ultimately leads to the face of this person with numerous and endless problems. His life is affected by various events and his personal circumstances ...

by Saman Sadeqi Capableness of the art of production in the movie "Paradise" shot by Ali Atshani Undoubtedly, it should be said the modern art of production and the actions taken in could be a wonderful experience for both the film and the director. In this popular and fancy art, a fundamental and correlated production alongside the film production- which is not only based on profit and wealth- would be the key for creating valuable opuses; in addition, would result in the emergence of very influential characters on the director's position. During some years, while Iran's independent cinema has been being involved in the process of producing these cultural products, many samples of making good, creative and memorable films could be figured out in its glorious career within which without...

Dr. Hooman sepantamehr Many people may believe that there is no difference between producing a film, and TV series (nowadays other platforms too), However, this judgment is not accurate. When the viewers watch a film on a theatre screen with all the details shown in perfection, and with the Dolby sound quality, watching the whole film at once without being able to rewind, things would Be much different than watching the same film on a DVD player or other platforms at home, where you can pause, drink some coffee, and replay. This example brings up just one of the differences between Cinema and TV. Producing content for both of these platforms requires expertise in both fields. A producer who is successful in one of the fields is not necessarily successful in the other field, and vice ver...

By Meagen Tajalle In this essay, I provide a content analysis of commercially and critically successful films that perpetuate popularized Islamophobia, which is often masked as irreconcilable religious and cultural difference although it has in fact been consistently manufactured and weaponized throughout history in order to further Western empirical interests. Recycled tropes and stereotypes in cinematic depictions can be traced back to historical orientalism and political Islamophobia, both of which were instrumental in garnering support for the War on Terror. Specifically, I examine the racial, religious, and morality politics of The Hurt Locker, Zero Dark Thirty, Argo, and American Sniper. Although my analysis primarily discusses these films within the context of twenty-first centur...

By Nadine Hussein This article explores the way in which Quentin Tarantino’s Inglorious Basterds challenges the myth of the American hero and criticizes the glorification of war cinema by satirizing the viewer directly. The particular focus is on the subtly with which Tarantino creates a network of parallels and analogical relations which dissolve the distinction between hero and villain. This article also argues that Tarantino effectively manipulates the audience into confronting the self-aggrandization of the American collective memory of WWII and exposes the ease at which the viewer is propagandized. Tarantino reveals the similarities between the spectator and the in-film Nazi audience by exposing the audiences enjoyment and acceptance of on-screen violence when depicted through the ...