ID :
123580
Sat, 05/22/2010 - 14:32
Auther :
Shortlink :
https://www.oananews.org//node/123580
The shortlink copeid
Political bias behind selection of Iranian films for intl. festivals
TEHRAN, May 22 (MNA) -- Farabi Cinematic Foundation (FCF) Director Ahmad Mir-Alaii is convinced that there is political bias in the selection of Iranian films for international film festivals.
At a session entitled “A Review of the Political Actions of Foreign Festivals Toward the Cinema of Iran”, which was held on Thursday at the office of the Fars News Agency, Mir-Alaii and several film critics voiced their opinions.
The participants agreed that most foreign film festivals in the world bear political intentions, especially a particular outstanding festival that claims it has not adopted a position on the nuclear issue.
Since the post-election unrest of 2009, foreign festivals have ignored the artistic aspects of Iranian cinema, they noted.
“Iran’s cinema must determine its policy and course of action against the political ebb and flow of foreign festivals. We must learn to produce movies using internationally accepted industry equipment, but bearing the mark of our own culture and worldview. We must be aware and not allow mistreatment at foreign festivals.
“Iran enjoys many prominent filmmakers who have made fine productions reflecting our culture. They have helped to attract the world’s attention to Iran’s cinema. If we clarify our policy and act wisely, the international market will surely welcome our cinema. Art cannot be imprisoned and one cannot fix boundaries for it. Art will find its way,” Mir-Alaii declared.
A screenplay must be approved by the Ministry of Culture and Islamic Guidance to obtain a production license in Iran. In addition, the film’s producer must apply for a screening license from the ministry for a domestic or foreign premiere.
“Anyway, we have made great progress over the past thirty years but we have been attacked. The world media is kept under the control of the enemy and we must not ignore it. We must learn to fight against it using our rich cultural heritage.”
“First, we must understand where Iran stands in the world and what are the current political and social circumstances. When we put all these together, we can determine who our country’s friends and enemies are, since this is quite a natural thing that artists are able to do.
“Taking a glance at Iran’s cinema, we find out that we have taken an international perspective on cinema after the Islamic Revolution. We cannot talk about Iran and ignore its revolution, and when we talk about the revolution, we cannot forget its founder, Imam Khomeini,” he stated.
“A good rival is a good friend, and bad rival is an enemy. The enemies have announced their opinions and have tried to force us in order to achieve their goals. If there comes a time when they encourage us, we must be even more alert. And when we see we are being oppressed and obstacles are placed in the way, we can infer that our progress is not to their benefit. Right now, they are threatening to boycott our cinema not selling cinematic equipment to Iran.
“Now why is the enemy worried about providing equipment for Iran’s cinema, if as they claim, our art is too weak to find its way to international events? If that’s true, then sell us the equipment; what difference would it make?
“We must admit that despite a lack of state-of-the-art equipment, we still have been able to make good movies, and this is because of the professionalism of filmmakers in Iran who have always respected their Iranian identity,” he remarked.
Mir-Alaii later talked about the press and continued, “Unfortunately some domestic media follow the route of our enemy and that is the route of restricting our cinema and our cineastes. The enemy feels the restriction helps undermine filmmakers and their Iranian identity.
“At present, many filmmakers are producing their movies inside the country despite hardships, but they continue to preserve their identity.
“It is true that we must tell our story to the world, but we must not degrade ourselves. We know that we have not always enjoyed successful participation at foreign festivals. And some international awards received by Iranian movies bore subtle, negative messages.
“This political attitude is not appropriate for today, it belongs in the past. For example, the movie “Muhammad (S), Messenger of Allah” directed by Moustapha Akkad or “Lion of the Desert” featuring Omar Mukhtar never received an international award. Now if you were to take these movies to the festivals of Cannes or Berlin today, you would see they have much more to say when compared to the present participating movies,” he explained.
“In any event, we must find solutions in this atmosphere and discover paths to global participation. Our filmmakers must think in terms of globalization. We must make good use of the experience gained by the world’s cineastes,” he concluded.
At a session entitled “A Review of the Political Actions of Foreign Festivals Toward the Cinema of Iran”, which was held on Thursday at the office of the Fars News Agency, Mir-Alaii and several film critics voiced their opinions.
The participants agreed that most foreign film festivals in the world bear political intentions, especially a particular outstanding festival that claims it has not adopted a position on the nuclear issue.
Since the post-election unrest of 2009, foreign festivals have ignored the artistic aspects of Iranian cinema, they noted.
“Iran’s cinema must determine its policy and course of action against the political ebb and flow of foreign festivals. We must learn to produce movies using internationally accepted industry equipment, but bearing the mark of our own culture and worldview. We must be aware and not allow mistreatment at foreign festivals.
“Iran enjoys many prominent filmmakers who have made fine productions reflecting our culture. They have helped to attract the world’s attention to Iran’s cinema. If we clarify our policy and act wisely, the international market will surely welcome our cinema. Art cannot be imprisoned and one cannot fix boundaries for it. Art will find its way,” Mir-Alaii declared.
A screenplay must be approved by the Ministry of Culture and Islamic Guidance to obtain a production license in Iran. In addition, the film’s producer must apply for a screening license from the ministry for a domestic or foreign premiere.
“Anyway, we have made great progress over the past thirty years but we have been attacked. The world media is kept under the control of the enemy and we must not ignore it. We must learn to fight against it using our rich cultural heritage.”
“First, we must understand where Iran stands in the world and what are the current political and social circumstances. When we put all these together, we can determine who our country’s friends and enemies are, since this is quite a natural thing that artists are able to do.
“Taking a glance at Iran’s cinema, we find out that we have taken an international perspective on cinema after the Islamic Revolution. We cannot talk about Iran and ignore its revolution, and when we talk about the revolution, we cannot forget its founder, Imam Khomeini,” he stated.
“A good rival is a good friend, and bad rival is an enemy. The enemies have announced their opinions and have tried to force us in order to achieve their goals. If there comes a time when they encourage us, we must be even more alert. And when we see we are being oppressed and obstacles are placed in the way, we can infer that our progress is not to their benefit. Right now, they are threatening to boycott our cinema not selling cinematic equipment to Iran.
“Now why is the enemy worried about providing equipment for Iran’s cinema, if as they claim, our art is too weak to find its way to international events? If that’s true, then sell us the equipment; what difference would it make?
“We must admit that despite a lack of state-of-the-art equipment, we still have been able to make good movies, and this is because of the professionalism of filmmakers in Iran who have always respected their Iranian identity,” he remarked.
Mir-Alaii later talked about the press and continued, “Unfortunately some domestic media follow the route of our enemy and that is the route of restricting our cinema and our cineastes. The enemy feels the restriction helps undermine filmmakers and their Iranian identity.
“At present, many filmmakers are producing their movies inside the country despite hardships, but they continue to preserve their identity.
“It is true that we must tell our story to the world, but we must not degrade ourselves. We know that we have not always enjoyed successful participation at foreign festivals. And some international awards received by Iranian movies bore subtle, negative messages.
“This political attitude is not appropriate for today, it belongs in the past. For example, the movie “Muhammad (S), Messenger of Allah” directed by Moustapha Akkad or “Lion of the Desert” featuring Omar Mukhtar never received an international award. Now if you were to take these movies to the festivals of Cannes or Berlin today, you would see they have much more to say when compared to the present participating movies,” he explained.
“In any event, we must find solutions in this atmosphere and discover paths to global participation. Our filmmakers must think in terms of globalization. We must make good use of the experience gained by the world’s cineastes,” he concluded.
