Tuesday, May 22, 2012

May 26, H . Khosrowjah

گفتمان سیاسی اجتماعی

شنبه 26 ماه مه 

" Do daste sansoor: Baaznegari beh Soale Sarkoob dar Cinemaye Iran"Goft-o-Shenudi Ba

Goft-o-Shenudi Ba

H . Khosrowjah

California School of Arts,
Department of Visual Arts
Oakland ,California

زمان: به وقت اروپای مرکزی20:00

نیویورک: 14:00


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Iran Goftemaan Siasi Ejtemaaee

گفتمان سیاسی اجتماعی

Hossein Khosrowjah is currently a Visiting Scholar at California College of Art’s Visual Studies Department, teaching courses in art history, visual studies, women’s Studies and film. In December 2010, Hossein defended his dissertation titled "Unthinking the National Imaginary: The Singular Cinema of Abbas Kiarostami" to receive his doctorate from the University of Rochester's Program in Visual and Cultural Studies. He has published essays in “Arab Studies Quarterly,” “Situations: A Project of Radical Imagination,” and “Invisible Culture.” He is also working toward publishing his dissertation as a book.

"Two Hands of Censorship: Re-Framing the Question of Repression in Iranian Cinema"

Questions of censorship, theocratic prohibition and proscription, which are, in essence, questions underlying the nature of the relationship between artistic representation and the Law (religious, civil and political) frequently frame the recent success and recognition accorded Iranian cinema. The dominant model often used in public discourse on censorship is a prohibition/institution model resembling a contagion that infects the entire cultural production environment, and The Law is also assumed to perfectly capable of inculcating the social subjects. However, once we question this model’s totalizing logic, we might be able to explain why 30 years after the consolidation of power by a theocratic state, we are witnessing cultural, social and political challenges to the foundations of the Islamic Republic and theocracy, and why post-Revolutionary Iranian cinema has been a vital site where most contested social conflicts have been played out passionately and publicly. What role have censorship codes played in the formation of this new landscape? Are anti-patriarchal, feminist tendencies of many contemporary Iranian films such as "10," "Red" and "A Separation" signs of the failure of the early 80s censorship codes or a result of them?

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