#ali behdad

[ellen-enderle]

So excited to finally announce the release of Imagining Everyday Life: Engagements with Vernacular Photography! When The Walther Collection held a symposium on vernacular photography at Columbia University while I was a student there (video of symposium can be viewed here) I never imagined I would be working on a book with them just a short time later. It was a delight to delve into the Walther Collection’s fantastic vernacular photography collection, scanning and editing photos and photographing objects for what would be this wonderful book, and a total honor to have some of my original research and caption writing included. This is the first book I have ever worked on, and I am so grateful to The Walther Collection for inviting me to assist and take part in the process. If you are curious to learn more about the significance of vernacular photography, do check out this book. You can learn more about it here, and purchase from Steidl here or from Amazon here. Includes texts by Ariella Azoulay, Geoffrey Batchen, Ali Behdad, Elspeth Brown, Clément Chéroux, Lily Cho, Nicole Fleetwood, Sophie Hackett, Patricia Hayes, Barbara Kirshenblatt-Gimblett, Thy Phu, Leigh Raiford, Shawn Michelle Smith, Drew Thompson, Laura Wexler, and Deborah Willis.

[couldnthelpbutwonder]

Bhedad, Teuilé

Behdad, Ali. "Mediated Visions: Early Photography of the Middle East and Orientalist Network." History of Photography 41.4 (2017): 362-75. Web.

Ali Bhedad portrays portrays “Method” as a neutral, objective thing. But methods quite influence politics and mentalities. Intentions and agendas can be justified by method. His approach is looking at objects (photographs, artwork) in an aestehtic wa and not in a bigger context of historical circumstances.

According to Bhedad, Edward Said genereally viewed Orientalism “as a closed system as a cumulative and corporate identitiy to dominate the East”. Behdad does not agree with always giving pictures an intentionality, which we would commonly describe as an “Imperailist lens” or colonialist gaze nowadays.

“Agency” is not in the unique actor, but in the whole social system that constructs Orientalism or colonial power.

Behdad’s arguments show its problematic side when we actively examine the types of pictures/photogtaphs being taken in the mid to late 19th century in the “Middle East”. An example are Scottish photographers John Cramb photpgraphs. An official photographer of the queen, in the 1860s he travelled to biblical sites to take pictures. His intentions are of Religious Christian intention, the “Holy Land” being translated into modern religious practices while ignoring the contemporary development of the city of Jerusalem for example.  Crambs mission was showing that the Bible was true. What kinds of images are taken? Bhedad notes that panoramic views were being taken, although he dismisses a bigger intention or ideology behind it.

In the 1860s, Darwin had just published his book “The Descent of the Species”, which questioned the voracity of the Bible. Summarized very simply, Darwin states thathumans descended form monkeys and the world is much older than 5000 years old. This clearly shows Cramb’s entitled approach to taking these photographs of proving that Darwin is wrong.

Teulié, Gilles. "Orientalism and the British Picture Postcard Industry: Popularizing the Empire in Victorian and Edwardian Homes." Cahiers Victoriens Et édouardiens 89.89 Spring (2019): 1-17. 

Historians of photgraphy have generally neglected the works of early European and local photographers of the Middle East. Teuilé points out that the rediscovery of large archives in the 1980s has come at the cost of obfuscating the context of both these images’ production and reception because art historians and museum curators lumped them together as “art”. 

We can make a direct connection to Bhedad, who sees these rediscovered archives as purely that, art. Teuilé makes a different argument: That a distinction should be made among “the aims and functions” of photography, viewed in a larger historical context and the political powers acting behind it.

[jeanmoreaux]

mich! i was wondering whether you could point me to resources where i can learn a bit more about comparative literature? it's alright if you're busy!! have a nice day!!!

heyy!!! sure, i can try :’)) here are some books i used in my studies so far that i found somewhat useful:

Behdad, Ali. A Companion to Comparative Literature. Vol. 76, Malden, Mass: Wiley-Blackwell, 2011.

Barry, Peter. Beginning Theory. 3rd ed. Manchester, New York: Manchester UP, 2009.

Bassnett, Susan. Comparative Literature : a Critical Introduction. Oxford: Blackwell, 1993.

Culler, Jonathan. Literary Theory. A Very Short Introduction. Oxford, New York: Oxford UP, 2011.

Eagleton, Terry. Literary Theory: An Introduction. Minneapolis: University of Michigan P, 2008. 

Greenblatt, Stephen et al., eds. The Norton Anthology of English Literature. 8th ed. New York, London: Norton, 2006. 

not all these books deal exclusively with comparative literature, some only fave a chapter or two dedicated to it. if you’re interested in learning about many different approaches of literary theory (historical, queer, feminist, marxist, post-colonial, etc.) i strongly recommend Peter Barry’s Beginning of Theory. It provides you with a succinct overview of the most influential theories in literary analysis. admittedly, i am not the most educated person on comparative literature, i focus most of my studies on feminist or post-colonial theory bc my interest primarily lies in these approaches, but i hope that this list gives you a starting point to move forward from.

[artbookdap]

How we love 'Imagining Everyday Life: Engagements with Vernacular Photography' published by @steidlverlag & @walthercollect⁠⁠ ⁠⁠ This 400-page paperback surveys the expansive field of vernacular photography—the vast archive of utilitarian images created for bureaucratic structures, commercial usage and personal commemoration (as opposed to aesthetic purposes). As a crucial extension of its ongoing investigation of vernacular photography, the Walther Collection has collaborated with key scholars and critical thinkers in the history of photography, women’s studies, queer theory, Africana studies and curatorial practice to interrogate vernacular’s theoretical limits, as well as to conduct case studies of a striking array of objects and images, many from the collection’s holdings.⁠⁠ ⁠⁠ From identification portraits of California migrant workers, physique photographs that circulated underground in queer communities, to one-of-a-kind commemorative military albums from Louisiana to Vietnam, these richly illustrated essays treat a breadth of material formats, social uses and shared communities, offering new ways to consider photography in relation to our political affiliations, personal agency and daily rituals.⁠⁠ ⁠⁠ 'Imagining Everyday Life' evolved from a two-day symposium at Columbia University in October 2018—a collaboration between the Walther Collection, Barnard’s Center for Research on Women and the Center for the Study of Social Difference at Columbia University. This publication unfolds in four parts: Why Vernacular Photography? The Limits and Possibilities of A Field; Troubling Portraiture: Photographic Portraits and The Shadow Archive; Performance and Transformation: Photographic (Re)visions of Subjectivity; and Space, Materiality and the Social Worlds of the Photograph.⁠⁠ ⁠⁠ Texts by Ariella Azoulay, Geoffrey Batchen, Ali Behdad, Elspeth Brown, Clément Chéroux, Lily Cho, Nicole Fleetwood, Sophie Hackett, Patricia Hayes, Barbara Kirshenblatt-Gimblett, Thy Phu, Leigh Raiford, Shawn Michelle Smith, Drew Thompson, Laura Wexler, and Deborah Willis.⁠⁠ ⁠⁠ Read more via linkinbio. ⁠⁠ ⁠ https://www.instagram.com/p/CKuFxcqpnUP/?igshid=y7eqt26ozkp8

[tanyushenka]

Photography: Haji Mulla Hadi Sabzevari (Islamic philosopher), 1867. Iran. Golestan Palace Photographic Archive. Photographer: Agha Reza Khan (court photographer)    “Upon seeing his own photographic portrait, Haji Mulla Hadi (who had apparently not encountered photography before) is awed—in one account, told by Hakim al-Mamalek, the philosopher is described as being utterly astonished or stunned, while in a second account, told by Etemad al-Saltaneh, he is described as expressing extreme bewilderment” Source: “Camera Orientalis. Reflections on Photography of the Middle East.” by Ali Behdad. The University of Chicago Press, Chicago, 2016., pp.149-150.  

[whileiamdying]

“The Warden” named best film at Iran critics’ celebration

January 31, 2020 - 18:49

TEHRAN – The acclaimed drama “The Warden” by Nima Javidi has won the award for best film at the 13th Celebration of Iranian Cinema Critics and Screenwriters.

“The Warden”, which tells the story of an Iranian prison warden who is assigned to transfer prisoners to a new building during the 1960s, brought Javidi the award for best screenwriter.

Navid Mohammadzadeh was honored with the award for creative acting for his portrayal of the prison warden in the film during the celebration, which took place at the Parsian Enqelab Hotel in Tehran on Thursday.

Hamid Farrokhnejad and Farhad Askani were the recipients of the award in the previous editions of the festival.

“It has been several times that I have been honored in this celebration and this makes me take my steps more confidentially,” Mohammadzadeh said in his acceptance speech.

The best director award went to Narges Abyar for her acclaimed movie “When the Moon Was Full”, while Elnaz Shakerdoost received the best actress award and Fereshteh Sadr-Orafai won the best supporting actress award for their roles in the film.

The best actor award was presented to Hamed Behdad for his role in “The Castle of Dreams” by Reza Mirkarimi and the best supporting actor award was handed to Ali Nasirian for his role in “A Hairy Tale”.

The Society for Cinema Critics and Screenwriters, which is the organizer of the gala, honors a first-film director every year with the Best Creative and Promising Filmmaker Award.

This year the award went to Homayun Ghanizadeh for his film “A Hairy Tale”.

Film critic Abbas Yari, actor Akbar Abdi and cinematographer Alireza Zarrindast were honored with the lifetime achievement awards at the celebration.

[barkoturktv]

Altın Portakal Film Festivalinde ödüller sahiplerini buldu

56. Antalya Altın Portakal Film Festivali, kapanış galası ve geleneksel ödül töreniyle sona erdi.  Sinema ve televizyon dünyasının ünlü isimleri, Antalya Spor Salonu'ndaki ödül törenine kırmızı halıdan geçerek geldi.  Sunuculuğunu Nefise Karatay ile Yekta Kopan'ın üstlendiği ödül töreninde konuşan Antalya Büyükşehir Belediye Başkanı Muhittin Böcek, tören coşkusunun bir hafta boyunca kentte hissedildiğini belirtti. Festivale öze dönüş temasıyla başladıklarını dile getiren Böcek, festivali Altın Portakal'a yakışır hale getirdiklerini söyledi. Yönetmenliğini Ahmet Boyacıoğlu'nun yaptığı festivalde, 29 ülkeden 69 yönetmenin 66 filmi gösterildi.  Festivalin Antalya Spor Salonu'nda yapılan kapanış ve ödül galasında ödüller sahiplerini buldu. En İyi Film, "Bozkır" oldu.

"Bozkır" filmi festivale damgasını vurdu Festivalde En İyi Film seçilen Ali Özel'in yönettiği "Bozkır", 10 ödülle en fazla ödül alan film oldu.  Ulusal Uzun Metraj Film Yarışması'nda En İyi Yardımcı Erkek Oyuncu Ödülü'nü "Bozkır" filmdeki rolleri ile Ozan Dağara ile Hakan Emre Ünal paylaştı. En İyi Yardımcı Kadın Oyuncu Ödülü'nün sahibi ise "Soluk" filminde canlandırdığı karakter ile Aslı İnandık oldu.  En İyi Sanat Yönetmeni Ödülü "Kronoloji" filminden Meral Efe Yurtseven ile Yunus Emre Yurtseven'e verildi.  En İyi Kurgu Ödülü, "Bozkır" filminden Ali Özel, Mahmut Aran ve Yakun İnanlı'ya, En İyi Müzik Ödülü, yine aynı filmden Hüseyin Özel'e, En İyi Görüntü Yönetmeni Ödülü de Ümit Çakmaksoy'a verildi.  En İyi Senaryo Ödülü'nün sahibi de yine "Bozkır" filminden Ali Özel oldu.  Bu yıl ilk defa verilen Cahide Sonku Ödülü ise "Küçük Şeyler" ve "Kronoloji" filmlerinden Selda Taşkın'a verildi.  En İyi Yönetmen Ödülü'nün sahibi ise "Bozkır" filminin yönetmeni Ali Özel oldu. Ödülünü yönetmen Zeki Demirkubuz'dan alan Özel, mutlu olduğunu ifade etti. Senaryoyu yazdıktan sonra çocuğu Deniz'e okuttuğunu anlatan Özel, Deniz'in kendisine önerilerde bulunduğunu belirtti. Özel, ödülünü oğlu Deniz için aldığını vurguladı. Behlül Dal En İyi İlk Film Ödülü de "Bozkır" filmine verildi. Jüri Üyesi Mert Fırat'tan ödülünü alan Özel, teşekkür etti.  Dr. Avni Tolunay Jüri Özel Ödülü de "Aşk, Büyü vs." ile "Küçük Şeyler" adlı iki filme verildi.  En İyi Kadın ve Erkek oyuncu ödülü En İyi Kadın Oyuncu Ödülü, "Aşk, Büyü vs." filmindeki rolüyle Selen Uçer'e verildi. Uçer, ödülünü festivalin onur ödülüne layık görülen Ahmet Mekin'in elinden aldı. Mekin'den ödülü almanın ayrı bir gurur verici olduğunu belirten Uçer, jüri üyelerine, filme emek verenlere teşekkür etti.  İşini en iyi şekilde yapmaya çalıştığını aktaran Uçer, "Aşkla yolumuza devam ettik. Bu ödülü yoluna devam edeceklere ithaf etmek istiyorum. Korkmadan kendilerini ifade edebilen kız çocuklarına, o kız çocuklarıyla yan yana yürüyen erkek çocuklarına ithaf etmek istiyorum." diye konuştu.  Uçer, ödülünü anne ve babasına hediye etti.  En İyi Erkek Oyuncu Ödülü'nü ise "Küçük Şeyler" filmindeki rolüyle Alican Yücesoy ile "Bozkır" filmindeki rolüyle Mücahit Koçak paylaştı. Yücesoy ve Koçak ödülünü, festivalin onur ödülüne layık görülen Selma Güneri'den aldı.  Duygulanan Mücahit Koçak, martta baba olacağını belirterek, ödülü için "Bu da ona" dedi.  Alican Yücesoy da ödüle layık görüldüğü için teşekkür etti. Yücesoy, ödülü Uğur Polat'a adlettiğini söyledi.  İzleyici Ödülü "Bilmemek" filmine gitti İzleyici Ödülü Leyla Yılmaz'ın yönettiği "Bilmemek" adlı filme, Sinema Yazarları Derneği (SİYAD) En İyi Filim Ödülü, Ümit Ünal'ın "Aşk, Büyü vs." filmine, Film Yönetmenleri Derneği En İyi Yönetmen Ödülü de "Bozkır" filminin yönetmeni Ali Özel'e verildi.  Ulusal Kısa Metraj yarışmasında jüri özel ödülü Ozan Yoleri'nin yönetmenliğini yaptığı Aylin Filmine verildi. Bu daldaki En İyi Kısa Film Ödülüne ise Burcu Aykar'ın yönetmenliğini yaptığı "Ablam" filmi layık görüldü.  Ulusal Belgesel Film Yarışması'nda ise jüri özel ödülüne Ruken Tekeş'in "Aether" adlı belgesine verildi. Bu kategoride En İyi Film ödülü ise Şirin Bahar Demirel'in yönettiği "Kadınlar Ülkesi" filmine gitti.  Uluslararası yarışmada En İyi Film, "Zaman Her Şeyi Siler" Uluslararası Uzun Metraj Film Yarışması'nda, En İyi Erkek Oyuncu Ödülü'nün sahibi İran yapımı "Şirin'in Kalesi" filminden Hamed Behdad, En İyi Kadın Oyuncu Ödülü'nün sahibi ise Brezilya ve Fransa ortak yapımı "Üç Yaz" filminden Regina Case oldu.  En İyi Yönetmen Ödülü "Şirin'in Kalesi" yönetmeni Reza Mirkarimi'ye, En İyi Film Ödülü de Joe Odagiri'nin yönettiği Japon yapımı "Zaman Her Şeyi Siler" filmine verildi. Önce Japonca konuşan Odagiri, Japonca çeviri olmayınca, "Çok teşekkür ederim." dedi.  Gece, Cahit Berkay’ın film müziklerinden oluşan konseriyle sona erdi. Read the full article

[kamran0913]

فردوسی پور میگه فدراسیون شرکت زده بعد بلیط فروشی رو واگذار کرده به خودش، بعد میگه تخلف نیست؟ کفاشیان میگه نه چون همه جای مملکت اینجوریه :))

— Ali behdad (@alibehdaad) August 21, 2017

[stiffnecknet]

Photography's Orientalism: New Essays on Colonial Representation (Issues & Debates)

The Middle East played a critical role in the development of photography as a new technology and an art form. Likewise, photography was instrumental in cultivating and maintaining Europe’s distinctively Orientalist vision of the Middle East. As new…

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