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whileiamdying · 1 month ago

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Tehran International Short Film Festival announces jury for international section

October 22, 2024 - 19:37

TEHRAN-The jury for the international section of the 41st Tehran International Short Film Festival (TISFF) has been announced with two jurors from Iran and five foreign jurors.

The members of the jury include the Indian musical composer and record producer A. R. Rahman, Ghanian-Belgian director Anthony Nti, Bangladeshi screenwriter and film critic Sadia Khalid Reeti, Italian filmmaker Maja Costa, and Russian festival producer Ekaterina Yakovleva, as well as Iranian filmmakers Ahmad Reza Motamedi and Masoud Madadi, IRNA reported.

A. R. Rahman is an Indian music composer, record producer, singer, songwriter, musician, multi-instrumentalist, and philanthropist known for his works in Indian cinema; predominantly in Tamil and Hindi films, with occasional forays in international cinema. He is popularly known as the man who has redefined contemporary Indian music. Rahman has sold more than 150 million copies of his work comprising music from more than 100 film soundtracks and albums across over half a dozen languages.

In 2008, Rahman's work gained global prominence with the extraordinary success of his score for “Slumdog Millionaire” that won eight Academy Awards including two for Rahman - Best Score and Best Song. Rahman won over 15 awards for this score including two Grammys, the Golden Globe and the BAFTA.

Rahman's music led him to be noticed internationally with several of his tracks featured in movies such as “The Lord of War,” “Inside Man” and “The Accidental Husband”. He also scored the music for Hollywood productions, “Elizabeth - The Golden Age,” “Couples Retreat,” “127 Hours,” “People Like Us,” “Warriors of Heaven & Earth,” “The 100 Foot Journey,” “Million Dollar Arm” and “Pele”.

He has also collaborated with the world-renowned Iranian directors Majid Majidi in two films, “Muhammad, the Messenger of God” and “Beyond the Clouds”.

Anthony Nti is a Ghanaian-born filmmaker from Belgium. After attending the Royal Institute of Theater, Cinema and Sound (RITCS) in Brussels, he went on to direct many commercials, music videos, and shorts. His first two short films “Kwaku” and “Only Us” picked up seven awards, including first prize at the Zanzibar Film Festival.

His short “BOI” (Fight), won the Critic Award and Best Debut at the Leuven Film Festival and the Jury and Public Prize at the Ghent Film Festival 2016. His 2019 short film “Da Yie” was shortlisted for the 93rd Academy Awards for Best Short Live Action and won the Grand Prix at the 42nd Clermont-Ferrand International Short Film Festival, becoming a hit at more than 200 film festivals all over the world.

His first feature-length film “Postcard” won second prize at the Sam Spiegel FilmLab and the TV show “Clemenceau” was selected for Torino Series Lab. In 2020, he was listed as one of the most promising filmmakers in Belgium and the Netherlands by the NRC, Dutch national newspapers.

Sadia Khalid Reeti is a film critic and screenwriter. She studied screenwriting at the University of California, Los Angeles (UCLA). She has also worked as an entertainment journalist in Dhaka and Los Angeles since 2012. Currently the cultural editor of Dhaka Tribune, Sadia has served as a jury member at different international film festivals in Italy, India, England, Nepal, France, Russia, and Bangladesh.

She served as a FIPRESCI jury at the Cannes Film Festival, International Film Festival of Kerala, and Dhaka International Film Festival. A Berlinale Talent Press alumna, she attended mentorship programs with Film Independent and Locarno Open Doors. She also teaches film studies at different universities and institutions and is the recipient of the Charles Wallace Fellowship from the British Council.

Maja Costa is a multilingual writer/director. After studying Ancient Near Eastern Studies and Cello in Milan, she graduated in Screenwriting from the German Film and Television Academy Berlin (DFFB). She has collaborated with many European production companies and film festivals in several positions and currently works as a freelance screenwriter and director in Berlin.

Ekaterina Yakovleva is the head of documentary broadcasting at Russia Today and general producer of the International Documentary Film Festival “RT.Doc: Time of Our Heroes”.

Yakovlova is a graduate of the School of Screenwriting and Film Studies of the Russian State University of Cinematography (VGIK). She has produced more than 1,500 documentary films as the head of documentary broadcasting at Russia Today. She has also served as a member of the Expert Council of the Ministry of Culture of the Russian Federation for selecting national non-fiction film projects. She has won dozens of awards at national and international festivals.

Ahmad Reza Motamedi earned a Master’s degree in economics and a Ph.D. in philosophy at the University of Tehran. He began his career as the screenwriter of the film “Companions” in 1993. For years, he has been involved in the theoretical field of art and philosophy of aesthetics in the media. He has written the scripts as well as directing “The Beautiful and The Hideous” (1998), “Rules of the Game” (2006) and “Alzheimer” (2010) among other films.

Motamedi is the founder of film philosophy in Iran and has a history of 43 years of teaching screenwriting, directing, art philosophy, film philosophy, cinema history and film criticism and training hundreds of students and filmmakers in his academic and film career. He has won several Crystal Simorgh awards from Fajr International Film Festival as well as some prestigious international awards.

Masoud Madadi is an Iranian cinematographer, director, writer, cinema teacher at the University of Arts and Soore University. Before turning to directing, he has worked as a cinematographer. One of the most famous films he has shot is Majid Majidi’s “The Color of Heaven” in 1999. Madadi made his directorial debut with “Dementia” (2012).

Madadi has served as a member of the filmmaking department of the Iranian Youth Cinema Association (IYCS) and the Supreme Production Council of the IYCS as well as the selection and judging committees of several national festivals.

This year’s edition of the Tehran International Short Film Festival received 13,651 submissions from more than 30 countries. The number of submitted films is a new record in the history of the event, about twice the number of submissions last year. Of the total submissions, 107 short films are competing for the top awards.

The line-up includes 59 short fiction films, 21 animated movies, 18 documentaries, and nine experimental films. The submitted works are from India, China, Poland, the U.S., Egypt, Greece, France, Palestine, Turkey, Spain, Argentina, Brazil, Russia, Australia, Japan, Germany, Italy, and Cuba among others.

The TISFF has been held for 40 consecutive years in Iran, by the Iranian Youth Cinema Society (IYCS) – one of the most renowned schools of cinema and short film production in Iran and throughout the world.

The festival is approved by the Academy Awards® (Oscars) and the winner of the Grand Prize becomes eligible for the Oscars.

Having launched on October 18 at Mellat Cineplex in Tehran, this year’s edition of the TISFF will run until October 23.

SS/

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newstfionline · 2 years ago

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Sunday, February 12, 2023

Trudeau: US fighter shot down object over northern Canada (AP) Canadian Prime Minister Justin Trudeau said Saturday that on his order a U.S. fighter jet shot down an “unidentified object” that was flying high over the Yukon, acting a day after the U.S. took similar action over Alaska. North American Aerospace Defense Command, the combined U.S.-Canada organization that provides shared defense of airspace over the two nations, detected the object flying at a high altitude Friday evening over Alaska, U.S. officials said. It crossed into Canadian airspace on Saturday. Trudeau spoke with President Joe Biden, who also ordered the object to be shot down. Canadian and U.S. jets operating as part of NORAD were scrambled and it was a U.S. jet that shot down the object. F-22 fighter jets have now taken out three objects in the airspace above the U.S. and Canada over seven days, a stunning development that is raising questions on just what, exactly, is hovering overhead and who has sent them. At least one of the objects downed was believed to be a spy balloon from China, but the other two had not yet been publicly identified.

Joyous parades and parties kick off New Orleans’ Mardi Gras (AP) A venerable fine-dining fixture on Bourbon Street helped kick off the final frantic days of New Orleans Mardi Gras season Friday—relaxing its jackets-required dress code and briefly ditching its no-pets policy for a pair of crown- and cape-wearing rescue dogs. Outside, music was already blaring from some Bourbon Street bars as the city prepared for three major parades Friday evening on historic St. Charles Avenue. Other Friday night parades were scheduled in neighboring Metairie, and there will be more than two dozen other such processions almost nightly until Mardi Gras, which this year falls on Feb. 21. Mardi Gras is the culmination of Carnival season—which officially begins each year on Jan. 6, the 12th day after Christmas, known as King’s Day, in New Orleans and closes with the arrival of Lent on Ash Wednesday.

How Lethal Is “Less Lethal”? (Wired) The U.S. is often called the “world’s policeman” due to its history of intervening in the affairs of other states, supposedly for the greater good. Now, the world’s policeman is also becoming the world’s arms dealer to police departments across the globe, as the leader of the multi-billion-dollar, global, unregulated “less lethal” weapon industry. As protests spring up across the world—Hong Kong in 2019, Minneapolis in 2020, Tehran in 2022, and Peru this year—law enforcement agencies have deployed riot police armed with rubber bullets, tear gas canisters, Tasers, and flashbang grenades. Those weapons all sound relatively harmless compared to a bullet—until you get hit with one of them. Tasers can cause cardiac arrest, and everything else on the list can break skulls, permanently affect sight and hearing, and cause concussions. Besides the actual lethality of “less-lethal” weapons, another issue is the industry’s loose regulation. The U.S. has no federal legislation regulating the production of less-lethals, and while the Geneva Protocol bans the use of tear gas in war, governments are perfectly welcome to gas their own populations. The industry is expected to grow by $3 billion over the 10 years, allowing governments to employ brutal technologies against protestors without the most basic forms of oversight.

UK economy avoids decline but cost of living pains many (AP) The small notice pinned to a wall at Union Chapel in north London is a sign of despair for charity workers dealing with the fallout from Britain’s cost-of-living crisis. The showers, it says, are reserved for the homeless. In other words, those who still have a roof over their heads but can’t afford to heat water for bathing are in essence asked to refrain. Amanuel Woldesus, who runs the Margins Project charity based at the church for people in crisis, is frustrated that he’s being forced to ration a service this way. The pressures are likely to get worse as Britain faces a prolonged economic slowdown triggered by soaring food and energy prices and compounded by tax increases and higher interest rates that authorities have unleashed as they battle the crisis. Middle-class families will see their disposable incomes fall by as much as 13%, or 4,000 pounds ($4,840), over the next financial year, according to analysis by the National Institute for Economic and Social Research. About 25% of households won’t be able to pay their food and energy bills out of their take-home income, up from 20% last year, the independent think tank estimates.

Russia Fires Major Missile Barrage at Ukraine as Combat Intensifies (NYT) Russia targeted Ukraine’s already battered infrastructure with more than 100 drones, rockets and missiles on Friday, raining explosives on cities around the country as President Volodymyr Zelensky returned from a three-day trip across Europe to ask Ukraine’s allies to send more weapons, and faster. The strikes, the first heavy aerial barrage in weeks, came as fighting on the ground intensified, in what Ukrainian officials were calling a new winter offensive. The Ukrainian air force described Friday’s aerial assault as a “massive attack” and said that it had involved 71 cruise missiles, seven Iranian-made drones and about 35 S-300 missiles, antiaircraft missiles that Russia has taken to using against targets on the ground. Ukraine said in a statement that it had shot down 61 of the cruise missiles and five of the drones.

‘They’re Hunting Me.’ Life as a Ukrainian Mayor on the Front Line (NYT) The little green van sped down the road, the Russian forces just across the river. Inside, Halyna Luhova, the mayor of Kherson, cradled a helmet in her lap and gazed out the bulletproof window. When the first shell ripped open, directly in the path of the van, maybe 200 yards ahead, her driver locked his elbows and tightened his grip on the wheel and drove straight through the cloud of fresh black smoke. “Oh my god,” Ms. Luhova said, as we raced with her through the city. “They’re hunting me.” The second shell landed even closer. She’s been almost killed six times. She sleeps on a cot in a hallway. She makes $375 a month, and her city in southern Ukraine has become one of the war’s most pummeled places, fired on by Russian artillery nearly every hour. But Ms. Luhova, the only female mayor of a major city in Ukraine, remains determined to project a sense of normality even though Kherson is anything but normal. Kherson, a port city on the Dnipro River, was captured by Russian forces in March; liberated by Ukrainian forces in November; and now, three months later, lies nearly deserted. Packs of out-of-school children roam the empty boulevards lined with leafless trees and centuries-old buildings cracked in half.

Volunteers Piece Together a Makeshift Medical System in Earthquake Zone (NYT) An ambulance pulled up to the cluster of red tents that now serves as the main hospital in the ruined city of Antakya, on Friday morning. It was bringing in a woman pulled from the wreck of her home after nearly 100 hours under the rubble. For the doctors in the field hospital, hastily constructed in a parking lot, miracles had grown nearly routine, but there were never enough of them. Given the extent of the destruction, the fact that Antakya has established a semi-functioning medical system is remarkable. Monday’s earthquake took out hospitals as well as homes, leaving emergency responders across 10 provinces unable to care properly at first for people crushed by collapsing buildings. Since then, however, a new, makeshift health care system has been constructed amid the devastation by volunteers from around Turkey and the world. While the most severely wounded were sent to undamaged hospitals in other provinces for treatment, field hospitals in the heart of the earthquake zone sprung up to stabilize the newly rescued, treat more minor injuries and manage the diseases that are flaring in the disaster’s wake. Even pets rescued from the rubble were receiving volunteer medical care at a pop-up animal hospital in Antakya.

Quake Death Toll Surpasses 23,000 Amid Struggle to Get Aid to Quake’s Victims (NYT) The death toll in Turkey and Syria from this week’s catastrophic earthquake surpassed 23,600 on Friday as relief organizations struggled to overcome an array of obstacles to deliver aid to survivors in both countries. The second aid convoy in two days, loaded with medicine, food and clothes, reached an opposition enclave in northwestern in Syria. The earthquake zone in Syria includes areas controlled by the Syrian government and others held by opposition forces backed by Turkey. Those territorial divisions, and an array of political obstacles stemming from the ongoing civil war, have created fatal delays in delivering help to Syrians. The flow of aid has also been hampered because the border crossing used by humanitarian convoys, known as Bab al-Hawa, is the only route approved by the United Nations to reach the opposition-held region in northwestern Syria. As many as 5.3 million people in Syria may have lost their homes because of the earthquake, according to the United Nations’ refugee agency. “For Syria, this is a crisis within a crisis,” said Sivanka Dhanapala, the agency’s representative in Syria, citing economic turmoil, the pandemic and now the earthquake and blizzards.

Japan’s earthquake recovery offers hard lessons for Turkey (AP) Mountains of rubble and twisted metal. Death on an unimaginable scale. Grief. Rage. Relief at having survived. What’s left behind after a natural disaster so powerful that it rends the foundations of a society? What lingers over a decade later, even as the rest of the world moves on? Similarities between the calamity unfolding this week in Turkey and Syria and the triple disaster that hit northern Japan in 2011 may offer a glimpse of what the region could face in the years ahead. A big lesson from Japan is that a disaster of this size doesn’t ever really have a conclusion. Despite speeches about rebuilding, the Tohoku quake has left a deep gash in the national consciousness and the landscapes of people’s lives. Take the death toll. Deaths directly attributable to the quake in Turkey will level off in coming weeks, but it’s unlikely to be the end. And despite hundreds of billions of dollars spent in Japan on reconstruction, some things won’t ever come back. Today, while the wreckage of the quake and tsunami has largely been removed and many roads and buildings rebuilt, there are still large areas of empty space, places where buildings haven’t been erected, farms haven’t been replanted. The long haul of rebuilding has been uneven and, at times, painfully slow, hampered by government incompetence, petty squabbling and bureaucratic wrangling. Nearly half a million people were displaced in Japan. Tens of thousands still haven’t returned home.

#headlines #news

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artwalktv · 3 years ago

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vimeo

Majid a young financially struggling Iranian man who is trying to push his wife in front of a car in the busy streets of Tehran in order to gain insurance money. Director: Kaveh Mazaheri Cast: Sonia Sanjari, Soroush Saeidi, Artin Rabiei Screenplay: Kaveh Mazaheri, Sepinood Najian DOP: Behrouz Badrouj Costume Designer: Raha Dadkhah Editor: Pooyan Sholevar Make-up Artist: Hosna Khanmohammadi Music: Kito Siqueira , Roberto Coelho Sound: Hossein Ghourchian, Hadi Manavipour Production Manager: Mahdi Borjian Assistant Directors: Behnam Rahnamaei, Mina Hamedani, Navid Karimpour, Hamed Nejabat Colorist and VFX: Mohsen Kheirabadi Producers: Kaveh Mazaheri, Soroush Saeidi, Pooyan Sedghi Iran & Canada / 2019 / Darvash Film, 3bros Film 2020 Palm Springs International Shortfest (USA) - Winner Special Mention for Best International Short 2020 ÉCU - The European Independent Film Festival (France) – Winner Best Non-European Independent Dramatic Short 2019 Foyle Film Festival (UK, Northern Ireland) – Winner Best International Film (Academy Awards Qualified) 2019 BFI London Film Festival (UK) - Official Selection 2019 Cork Film Festival (Ireland) - Official Selection 2019 PÖFF Shorts (Tallinn Black Nights Film Festival) (Estonia) - Official Selection 2019 The Discover Film Awards (UK) – Winner Director without Borders Award 2019 Cornwall Film Festival (UK) – Winner Best Short 2019 Court en Scène (France) – Winner Special Mention for Best Screenplay 2019 Winchester Film Festival (UK) – Winner Special Mention for Best Foreign Film

#Videos & Films

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kamibekami · 3 years ago

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Kamibekami Biography

Kambiz Noorollahi (born September 7, 1988, Tehran, Iran)better known by his stage name Kamibekami, is a singer, song writer, musician, composer, Music Producer.

He started his career at a young age and with the establishment of Kamibekami Productions in 2018, he officially entered the field of music and production.

His nickname in cyberspace is "Kamibekami" and he is known as the creator of visual music. Music that plays with the human mind and has hidden messages.

His best album according to his fans, is called “Masters of the Universe” and this album has 6 tracks with a special arrangement that are, Masters of the Universe, Hybrid, White Dream, THIS IS ENERGY, Free Zone , If all the above, and Celentic Age

Kambiz Noorollahi mostly produces music in the field of instrumental with House and Trance genres and has several examples of singing in his multi-year resume.

If we want to name some of his most seen tracks, we can refer to singles such as: Hybrid (2020), Rain Drops (2020), White Dream(2020), Masters of the Universe(2019).

Education

He studied computer engineering.

IT and network specialist

Passing acting courses

Activities

Social media marketing expert

Movie and TV actor

Singer and author of poetry

bussines managmant

Work offices

He also owns his business offices in Turkey , India and Pakistan

Activity Summary

In general, he is famous and successful businessperson.

Career

Kamibekami is active in various fields

Among his recent activities:

Social media marketing expert: Working in this field is one of his main interests, with extensive marketing and the power to make plans for his own business or that of others, he creates the best opportunities. Kamibekami is a bit powerful in this matter as if he was created for this job!

Acting : Kamibekami is also active in the field of acting. Some of his new works in Iranian cinema: Rahman 1400, Texas 2, Khoob bad jelf 2, darbareye eli

Singing: Kamibekami is active in singing in the Dance / Electronic genre and his latest song is called Tak Tak. This music has been published and approved in more than one hundred world music media

business management : Business activity is the main work of Kamibekami. In 2020, he was selected as the youngest and best business man in Iran and received a plaque of appreciation.

Food trade: It has recently entered the food trade business in Central Asia and the Middle East a

The only social accounts of Kamibekami ( Kamibekami ) :

Official Websites :

1- Website ( Iran )

2- Kamibekami.com ( Global )

Facebook :

facebook.com/kamibekami.music

Instagram :

instagram.com/Kamibekami

Twitter :

twitter.com/Kamibekami

VK :

vk.com/kamibekami

IMDb :

https://www.imdb.com/name/nm10994734/

Youtube :

www.youtube.com/Kamibekami

Spotify :

https://open.spotify.com/artist/2XOelKWNhlDEgNPSCUQf8u

Deezer :

https://www.deezer.com/en/artist/71145162

Apple music :

https://music.apple.com/us/artist/kamibekami/1476593317

#kamibekami #bio #biography biography #artist #dj #music #musician #composer #actor #best actor #wiki #aikipedia #wikipedia #famous

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auutintiug · 4 years ago

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“In her own words, Hoda Katebi is “a Chicago-based angry daughter of Muslim-Iranian immigrants,” author of the book Tehran Streetstyle, community organizer, and the voice behind the radical, political online fashion publication JooJoo Azad. Here, she speaks with Palestinian-American human rights attorney, artist, educator, and writer Noura Erakat, who has time and again stunned and stupefied the media in bold, brazen, sensibly unapologetic interviews. Katebi and Erakat’s conversation is akin to two streams flowing parallel to one another, embarking upon the surfaces and diving into the depths of politics, art, activism, identity, and gender norms, ultimately joining forces in the same body of water, not in competition but in support of one another—level and determined, headstrong, open to the elements.

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Hoda Katebi: Do you think that all art is political?

Noura Erakat: I mean, I’m trained as an attorney. I’m hesitant to make such an absolute statement. Politics is basically the negotiation over scarce resources, and it’s the work that’s being done to actually negotiate that distribution. Art is expression, some sort of expression, any kind of expression, right? It’s a visionary aide. It’s a manifestation. That could be political in two ways: What is it that the artist chose to represent as opposed to anything else, and then how does creation implicate a discussion around the distribution of scarce resources?

I don’t identify as an artist because it’s political. I identify as an artist because I think that it’s a way of being. An artist is someone who can transcend an immediate material reality to be able to define yourself on your own terms, and to want to see the world on terms that may not yet exist. So those are the things that I think define an artist, which is not being bound by what is, but instead being in the constant act of creating what could be. A lot of the time it does come from people who hold privilege who say that they don’t want their art to be political or simultaneously call out Palestinians or black folks and say, “Oh, why do you always create political art?” It’s almost like my entire life. It’s triggering to you.

HK: What role does art play for you, and especially as a Palestinian, why is it important?

NE: So, I just want to be clear: I identify as an artist because I think that that’s the best way, because a lot of people see me, and they’re, “Oh, Noura’s a lawyer. Oh, Noura’s a teacher. Oh, Noura …” You know what I mean?

HK: Yeah.

NE: And I feel like rather than be defined by the actual profession, I want to be defined by the way I relate to the world in it. Me being an artist is not me defining my career or my productivity. It’s my relationship to time. I’m also identifying as queer, right? it’s not who you’re attracted to; it’s how you’re manifesting yourself in the world outside of binaries. I want to live.

I’ve written two plays, and I’ve fallen out of that—it’s a practice, like anything, and I haven’t been keeping it up. But last fall, the Kennedy Center invited the DC Palestinian Film and Arts Festival, which I am a co-founder of, to curate a program for the Millennium Stage. I got to direct the program, which meant musical direction, light direction, you know, all the stage work, plus it’s a play that I wrote, and I directed the professional actress who performed it. It was actually such a miracle, because we only got to do one stage rehearsal an hour before the program started.

The DC Palestinian Film and Arts Festival began because in 2011, I had been co-leading something called the U.S. Palestinian Community Network, and we had created a local chapter in D.C., and all of the work that we were doing as part of that network was, I thought, very reactionary. No to negotiations. No to these terms of the peace process. No to the split. I knew, I knew that that was not going to last because that’s not something that sustains. It creates a lot of toxicity.

On a trip to Toronto, I was speaking in Toronto and my good friend introduced me to her project, the Toronto Palestine Film Festival, and I thought to myself, oh my God. That’s it. We have to create something that will outlast the politics of rejection. We have to create something that lives on its own terms. So when I got back, I and two other women co-founded this project, and now we’re in our eighth year. It is not a Palestine film festival; it is a showman arts festival. Our whole purpose is to showcase the artists, whoever they are. You could be talking about your favorite color or your favorite candy or the way your mom screwed you over and still left it in your head. The whole point is to showcase the artist and all of the different media that they use, visual, performing, cross stitching, cooking, music, dance, the whole thing.

This is where we’re dreaming of the future. This is where we’re creating. Who are Palestinians? Who are young Palestinians don’t know anything about it? From what they feel, from what their family passed onto them—how are they expressing that? And that is the future of Palestine. We’re trying to cultivate the space where they can dream. What the diaspora looks like and what the community looks like beyond just, what are the political terms upon which this will be resolved? Instead it becomes a social question, more like, what do people look like? What does trauma feel like? What is joy? What is internal conflict? What languages do we speak in this space? It also becomes one of the best tools for mainstreaming the question of Palestine. We’re bringing out audiences that probably feel like the whole thing is toxic.

HK: Yeah, it’s like a language that transcends border and culture. You create really accessible work. So, how are you able to transcend that really difficult box that lawyers are taught to be sitting in?

NE: I went into law school because I wanted to fight, and I thought, if only we had these tools we could just reason through this, then we can get out of the binds that politics had created for us, and we’ll just reason through it through some arbiter. We just listen to each side, and we can figure it out, and in fact, that was a really jarring lesson, and one of naivety, and it’s become the source of inspiration for my forthcoming book, Justice for Some: Law in the Question of Palestine, which will be out in March 2019. First of all, I barely survived the damned thing, because it is the single most white, heteronormative, classist, stifling space—

HK: Say it.

NE: —you can ever imagine. It is basically where you go to protect and revere the status quo. My issue with law school is that you take that for granted. Nobody admits that that’s what it is, and you start to act like everything that you’re studying is objective when everything is so not objective.

HK: Everything that you produce, whether it’s academic in the legal industry, you’re coming from your particular perspective of the world. Oppressed or oppressor.

NE: True, but there’s a different kind. Let me give you an example. When you’re studying property law in the United States, all property law is built upon a logic of dispossessing native nations, indigenous nations in the United States. And here you are studying concepts like liens, trusts or estates, possession, but you never ever talk about, well, what is the root of this whole model? The root of it is the dispossession of indigenous nations. Or when we talk about criminal law: We want to talk about the death penalty as a jurisprudential matter, which means we’re just going to look at the case law, but we’re not going to talk about, how is it that the law itself and the way that the death penalty becomes instrumentalized is specifically to punish black people?

I had a really hard time in law school. I ended up getting a big award at the end, which was like a vindication, but I almost didn’t even go to my graduation because I was just like, this was miserable. Afterwards, I didn’t even take a traditional law job. I went to Berkeley Law, and after law school, I got a fellowship for something like 30, 35k. That’s insane for a recent law graduate, and then there was no such thing as working as a Palestinian-rights lawyer, so I had to create my own job. It was a coup to even get the fellowship.

I’m now in a place where I have some stability, but from the time I graduated until now, I came onto the tenure track in the academy basically hustling. Nobody wants to … It’s just a difficult story. I mean, you have to be crazy to be doing this work. If I wasn’t crazy, I wouldn’t have lasted this long.

HK: What has got you through?

NE: I kept pushing. I kept being a lawyer. I went back to school, and I kept writing like a lawyer. I kept appearing on television like a lawyer until more recently. I think until last December, when I started to appear on TV and in public spaces, a little less as an attorney and more like as a human being and a Palestinian, that, I think, was a major turning point for me and for people receiving me, because when I’m talking as a lawyer, you know, I’m basically trying to be removed from it, just making the argument and letting it stand, but when I step into my skin as a Palestinian, as a human being, it’s me.

I’m still going to use logic as my primary communication tool, and everybody has a different way they like to communicate in public. Some people like to tell stories. Some people like to move you, just really deeply move you and rally you to fight and believe. I think logic is really compelling. I do it in the same way when I’m in my classroom. I don’t ever tell you what exactly to believe. I want to give you enough facts and information for you to make your own decision. That’s so much more powerful when you have to engage with me and do the work with me. You have to think about it.

For me, legal practice basically means that I’m an advocate. Because what is human rights advocacy? There’s no courtroom. What does it mean, then, to be a human rights attorney? It means that I am making a case in the world of public opinion. That’s my courtroom.

HK: What got you out of bed every day during this period? Were you also doing art at the same time, or did art come later?

NE: I was producing art while I was in law school as a writer. I dabbled in poetry, but I did the theater work. My first play is based on oral histories that I collected.

I’m in the West Bank in 2000, when the second intifada begins. I’m a student at Hebrew University [of Jerusalem], which was a whole story unto itself, but I’m the only student at Hebrew U that is a Palestinian and living in what’s known as the West Bank. And so basically, school gets shut down, because the intifada has started, and I had come eager to do an oral history project. I thought it was going to be about young girls and women. I started traveling to interview families of the slain, of the killed, and to get the stories of those killed, and so I collect all of these stories and come back. I transcribe them, and then I turn that oral history project into a revolving monologue, which is like a one-act play for about an hour where you get to hear almost all of the stories being told by the characters themselves as they’re describing their loved one who’d been killed.

So, I write that while I’m in law school. I produce that. I direct that. It takes its own life, and it’s performed in different places. I then come to do another monologue, but this time it’s a one-woman show, and I perform that one everywhere. And that was it. That space just killed my creative spirit.

HK: Do you see yourself within the legacy of any artist that you look up to? Whose tradition do you feel that you belong to, if any?

NE: The first person that comes to mind is Arundhati Roy.

HK: Bae!

NE: Right? Here is this woman completely committed to revolutionary justice and transformation but who is expressing herself also as a dreamer, as a novelist, and as an essayist, and so I really like that. It’s these visionary women who are immersed and accountable to a base and to a movement. They don’t see themselves as above or as being revered. They see themselves as being a part of something bigger than them. What you’re seeing in their work is homage to it, paying respect to it, and creating space for it.

HK: Situating yourself in the West as a site of knowledge production in academia, which is heavy orientalist, perpetuates a lot of racism, the same ways that you mention about the law. What are your experiences there, and what made you become an educator?

NE: I think in everything that I’ve done, I’ve always been an educator. Even as an activist or when I’m leading workshops at different universities from before I got into law school. The difference about entering the academy is now you’re producing knowledge in a way that’s refereed and becomes subject to academic and scholarly scrutiny. A lot of circumstances pushed me into that field, and also because I’m increasingly unfulfilled by the legal practice, which I find is so hampered by the question of politics and by political issues. I’m increasingly frustrated with the limitation of the law, but also more curious about it. Why is it working in this way? What is it about the law, what is it about politics? And so these became scholarly inquiries that push me out, like make me more disenchanted with being a lawyer.

Once I’m in the academy, now it’s like a whole different set of challenges. It becomes the most stark when people of color talk about justice issues that are difficult conversations. So, if I was talking about FGM and the Muslim community, I don’t think people would receive me harshly. It might even be kind of okay, because I’m not challenging the establishment. But being of color, producing knowledge that is counter-hegemonic is when you raise a lot of flags, and immediately people begin to question whether you’re an academic or an activist. It’s one thing if somebody was studying these things. It’s another if you’re invested in them and studying them. That’s been a really difficult challenge, how to toe that line.

It’s a lot of unknowns, like you’re saying. For me, I’m leaving the choice to myself. I write about what I find the most interesting, intriguing, because that’s what’s the most authentic, and that’s the work that I do best, when I enjoy what I’m doing. But there is great risk in doing the work in that way. I feel like that’s the risk that’s worth taking. I want to know that I spent all the time I had breathing, able-bodied and able-minded, to produce the work that I thought was critical and necessary, rather than produce the work that I thought was going to help me climb some sort of career ladder.

HK: Because at the end, you always get exposed anyway.

NE: Maybe it’s about getting exposed, but I feel like it’s between you and yourself. What is it that you want at the end of the day? What is going to make you happy? So, yeah, I’m taking a risk, but everything else that I’ve done has been a risk. Right?

HK: Yeah. And with all of these risks, what are the joys of being an educator?

NE: Oh my God, the students. There’s so much tremendous joy. There’s so much tremendous joy in their capacity and their imagination and their passion, and the community that they create with one another. In finding folks who want to create an alternative world based on a place of love and a place of vision and a place of hope and a place of faith. All of that is joyful. I believe that the revolution will be full of joy. I know the revolution to be full of joy. It’s also full of tremendous heartache, but we already know that, right? But when we fight, we don’t just fight because we’re sad and because we’re angry. We fight because we believe we can. We believe we can. We believe we should.

HK: And we have no choice.

NE: We believe we are better. And that’s so joyful.

HK: And that also takes me to the very last question that I’ll ask: What is the world that you’d like to see?

NE: Well, there’s the really nerdy answer, which is to see a world where if we are to have governments, the governments are to be run by people for the sake of people, where profit is not a determinative logic, where the distribution of wealth is not concomitant with some neo-liberal equation of productivity and earnings and market formulations, but rather based on need. That’s a world that I would love to live in.

I would like to live in a world where we’re actually honoring the earth. We are depleting this earth at such a fast rate, at such a disrespectful rate, that we’re not going to have an earth to even divide by the time we figure out how to get along with one another and get over our human conflict. That’s why billionaires are trying to figure out their exit route to Mars and life elsewhere. Environmentalism isn’t this side thing. It’s central to everything that we do, and it’s entwined with indigenous justice as well, people who have already told us how to treat this earth and how to make it sustainable.

HK: That’s beautiful. Well, thank you so much. Is there anything that you wanted to say that we didn’t get to touch on?

NE: One of the things that made me most excited about the invitation by Suited, the first thing I thought of, was that I wanted Rami Kashou to dress me, because I saw him on Project Runway and he didn’t identify as a Palestinian. I knew he was Palestinian, but he was just out there being a designer, and in watching him, I found freedom. I thought, that is what freedom will mean for Palestinians, when they can just be in the world and not have to be defined by our fight. We can just be defined by whoever we want to be. “I’ve been fangirling you for 12 years. You want to dress me?” So we meet, and he dresses me, and if you notice … I don’t know if you’ve seen the photos.

HK: I haven’t.

NE: It’s like artwork. Literally the only other person who’d worn what I wore for this photo shoot was a mannequin at a museum. It is exactly what I envision the future of Palestine to be, which is taking our tradition and our history and our past, but not going back to it or being stuck in it. It’s taking it and creating something absolutely new and visionary. It’s Palestinian futurism, and it was … that is such a central piece of the photo shoot, of this story, of what art is doing, of my own vision of: What does it take for us to create these new futures? And at the heart of it, it means not being afraid to dream.

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hotfps · 5 years ago

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A clumsy accident leads a young girl onto the streets of Mumbai in the hope of making things right. A gentle and touching father/daughter story depicted in exquisite stop-motion from Indian animation mainstay, Studio Eeksaurus. Miscellaneous Video Links : - 1. Music Session -https://vimeo.com/392429595 2. Animating Tokri - https://vimeo.com/392426186 3. Pre-Production - https://vimeo.com/377728814 4. Sound Design - https://vimeo.com/392432285 5. Faces of Tokri - https://vimeo.com/290417516 6. Production Design - https://vimeo.com/330708363 7. Tokri Photoshoot - https://vimeo.com/360727855 Awards & Wins : - Luchezarny Angel Film Festival - The 11th Xiamen International Animation Festival - Filmmakers of the Year Film Festival (FYFF) - Crossroads Film Festival - Brroego Springs Film Festival - 65th National Film Award - 19th Crossroads Film Festival - Moscow Shorts April 2018 - Myrtle Beach International Film Festival - Mumbai International Film Festival (MIFF) - 4th Thessaloniki Animation Film Festival - 6th Sharjah International Children’s Film Festival ( SICFF ) - International Short Film Festival Kolkata - Animation Studio Festival - Palm Springs International Animation Festival, 2018 (PSIAF ) - Short to The Point - Accolade Global Film Festival - 19th Digicon 6 Asia Awards - New Delhi Short Film Festival - The Smalls Film Festival - Great Lakes International Film Festival - Moondance International Film Festival - Long Island International Film Expo(LIIFE) - Acharya Tulsi Short Film Festival - 16 Jaipur International Film Festivals - In Jaipur - Mexico International Film Festival - The IndieFest Film Awards - 60th Cine Golden Eagle Awards for Independent & Emerging Media - 12th Athens Animfest -2017 - Ficci Baf (Federation of Indian Chambers of Commerce and Industry) 2017 Full Credit List : https://docs.google.com/document/d/1lE8clZiabYujjzM-W_4xk6q4WibHu719VY2d9jNxD5k/edit Nominations and Official Selections : - The Ambulante Film festival for the kids section - Luchezarny Angel - Indie Meme Film Festival 2019 - New York International Children's Film Festival (NYICFF ) - Black Movie Film Festival’s - Kobane International Film Festival - International animation film festival Tindirindis in Lithuania - Cinekid Screening Club Invitation - Filem'On - International Film Festival - Ojai Film Festival - Lodz Animation Film Festival - Banjaluka International Animated Film Festival - 8th StopTrik IFF (International Stop Motion Competition ) - Krok Film Festival - Tai Kwun 2018 - Cinema On The Bayou Film Festival - Tokyo Anime Awards (TAFF) 2018 - Our Fest - Play Lisbon's International Kids Film Festival 2018 - 34th Cartoon Club, The INT. Film Festival of Animation Cinema And Comic - Linoleum Festival - 8th California International Shorts Festival (Fall) - Stockholm Experimental Film Festival - 11th Tehran International Animation Festival - Académie Des César - Atlanta Film Festival (ATLFF) - an Academy Award - Aualifying Festival - 2017 Kaohsiung Film Festival International Short Film Competition - 42nd Hong Kong International Film Festival - New Filmmakers NY - Bucharest Short Film Festival - Zubroffka (kids contest) International Short Film Festival - Irvine International Film Festival - SIFFCY (Smile International Film Festival for Children and Youth) - Indian Film Festival of Los Angeles IFFLA - Anilogue International Animation Festival - 20th International Children's Film Festival India (ICFFI) - Paris Courts Devant International Short Film Festival - Kansas International Film Festival - Reggio Film Festival - Kuandu International Animation Festival - Kaoshing Film Festival International Short Film Competition (KFF) - Festival Du Film D'Animation Pour la Jeunesse - KLIk Amsterdam Film Festival - Route 66 Film Festival - Hsin-Yi Children’s Animation Awards - 3D Wire Festival - Ile Courts International Short Film Festival - Indie-AniFest - Fantoche International Animation Film Festival - Festival International Du Film D'Animation De Paris (PIAFF) - Woodstock Museum Film Festival - La Guarimba International Film Festival - The San Diego International Kids' Film Festival - Tandil International Short Film - Bucheon International Animation Festival - Anima Mundi 2017 - Supertoon Animation Film Festival 2017 - 9th Edition Montreal stopMotion Animation Film Festival - 11th River Film Festival (RiFF) - 57th Zlin Film Festival - NCCC Film & Animation Festival - Tokyo Lift-Off Film Festival - Animation Day in Cannes Accolade - Cortoons Festival Gandia - Animakom Fest - Cartoons on The Bay - Lucca Film Festival - Animac International Animation Film Festival of Catalonia - Festival De Cinema En Famille De - Arthouse Asia - London City Film Awards - North Hollywood Cinefest - Solo International Film Festival - Liverpool Film Festival - Edinburgh Independent Film Awards - Glasgow International Film Festival - The Buddha International Film Festival (TBIFF)

#IFTTT #Vimeo

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undiscoveredtape · 5 years ago

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Emad Kazemi Saeid, aka Deddin, is an upcoming independent artist, producer, and engineer born in Tehran, Iran, and raised in Toronto. Moving to Canada at the age of 8, He found his passion for music when he started learning to play guitar and has continued ever since then. Since 2017, Deddin has proven himself as a producer and has been around and worked with artists such as Blocboy JB, Jeremih, hoodrich Pablo Juan, Sonny digital, etc. Deddin also developed himself as an artist and has created a unique ambient style mixed in the hip hop scene with the help of his production, coming up with music videos such as worth it. His latest work, “Miss CEO” with Bali Baby, was published in September 2019 through Warner Bros.

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#Youtube

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sheet-music-for-teachers-school · 5 years ago

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5 things you need to know now - Ex-FBI lawyer Lisa Page speaks out - The Week Magazine - #5 #- #to #aePiot

5 things you need to know now - Ex-FBI lawyer Lisa Page speaks out - The Week Magazine

The date of publishing: Mon, 02 Dec 2019 08:00:00 GMT

Retrieved from this feed on the date of: Tue 21 Apr 2020 02:18:24

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