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In the first anthology of its kind, Lila Azam Zanganeh argues that although Iran looms large in the American imagination, it is grossly misunderstood-seen either as the third pillar of Bush's infamous "axis of evil" or as a nation teeming with youths clamoring for revolution. This collection showcases the real scope and complexity of Iran through the work of a stellar group of contributors-including Azar Nafisi and with original art by Marjane Satrapi. Their collective goal is to counter the many existing cultural and political cliches about Iran. Some of the pieces concern feminism, sexuality, or eroticism under the Islamic Republic; others are unorthodox political testimonies or about race and religion. Almost all these contributors have broken artistic and cultural taboos in their work. Journalist Reza Aslan, author of No God But God,explains why Iran is not a theocracy but, rather, a "mullahcracy." Mehrangiz Kar, a lawyer and human rights activist who was jailed in Iran and is currently a fellow at Harvard's Kennedy School of Government, argues that the Iranian Revolution actually engendered the birth of feminism in Iran. Journalist Azadeh Moaveni reveals the underground parties and sex culture in Tehran, while Gelareh Asayesh, author of Saffron Sky,writes poignantly on why Iranians are not considered white in America, even though they think they are. Poet and writer Naghmeh Zarbafian expounds on the surreal experience of reading censored books in Iran, while Roya Hakakian, author of Journey from the Land of No- A Girlhood Caught in Revolutionary Iran,recalls the happy days of Iranian Jews. With a sharp, incisive introduction by Lila Azam Zanganeh, this diverse collection will alter what you thought you knew about Iran. "My Sister, Guard Your Veil; My Brother, Guard Your Eyesaims to corrode fixed ideas and turns cultural and political cliches on their heads . . . Iranians themselves live in a complex and schizophrenic reality, at a surreal crossroads between political Islam and satellite television, massive national oil revenues, and searing social inequalities."--From the Introduction by Lila Azam Zanganeh Contributors include- Azar Nafisi, author of the best-selling Reading Lolita in Tehran, Marjane Satrapi, author of Persepolis, Shirin Neshat, internationally acclaimed visual artist, Abbas Kiarostami, award-winning filmmaker of Taste of Cherry, Shohreh Aghdashloo, Oscar nominee for House of Sand and Fog, Azadeh Moaveni, author of Lipstick Jihad… (altro)
Poor translation. I will give you two examples, where she fails as an interviewee and as a translator. The interviews were mainly done in Farsi language and were translated into English language in order to publish this book.
Page 82. Interview with Abbas Kiarostami: Abbas says, "Then I founded the film department of the Institute for the Intellectual Development of Children and Young Adults, known as Kanun, and with the help of one of my friends (so typical not mentioning the friend's name and not giving him any credit). In this sentence, the verb "founded", which Kiarostami uses means he came across this institute, thanks to his "unknown" friend. He was not the "founder" of the institute. Misinformation. Also, on the same page, the poor knowledge of the the interviewee/collector of this book presents itself, again. Abbas says, "In 1970, I made my first short film, called Bread and Alley, a twelve-minute feature about a young... ". "Feature" is a film that typically has a run time between 80 minutes and 180 minutes long. A 12 minute film is considered a "short".
Many errors scattered on the pages of this interviewing book.
I too have many connections and know a lot of people. Should I interview each and everyone of them and use their names to publish a book, and make a name for myself through other's achievement?!
On the same page, she even asks, WHAT WAS YOUR FIRST FILM FOR ADULTS? Has she even watched his films? ( )
My Sister, Guard Your Veil; My Brother, Guard Your Eyes, Uncensored Iranian Voices, edited by Lila Azam Zanganeh (pp 128). Published 2006. This collection of essays and interviews presents a wide variety of viewpoints on art, Iran, the 1979 Revolution, life, counter-culture, repression, freedom, and much more. It’s easy to mischaracterize this book as a collection of laments about post-revolutionary Iran, but while there is plenty of criticism, in my opinion it’s a celebration of Iran and Iranians. It was fun to read authors with which I am familiar, like Azar Nafisi (Reading Lolita in Tehran); Marjane Satrapi (Persepolis 1 and Persepolis 2), and Reza Azlan (No god but God). More importantly, is was nice to learn about other writers and artists: actress Shohreh, Aghdashloo, writer Gelareh Asayesh, filmmaker Abbas Kiarostami, and others — fifteen in all. Most, but not all of the artists are or were expatriates at one point. It’s easy to say those who fled had fled Iran, but that isn’t accurate. Rather, they fled certain conditions, strictures, and people in Iran, but no matter where they landed, they all held tightly to their home country. My stay in Iran in, I think, 1974 was fleeting, but my memory of the country that dazzled and intrigued me came alive while reading these insightful essays and interviews. For anyone who “knows” about Iran only from what they read in the American press, and want a more accurate understanding of the country (at least from artists’ perspectives, please consider reading this collection. Given that many (most?) Americans’ first notice of Iran was the hostages from the American Embassy takeover in 1979, you might also want to read Guests of the Ayatollah, by Mark Bowden, but don’t read it first. Also, do read the other three books mentioned above. Great book! ( )
I liked the idea of the book: compiling essays by people from Iran in order to show the world Iran's true identity. Unfortunately, I found nearly every essay in the book extremely boring... While the book does give a little bit of an inside look into Iran, I find it somewhat ironic that most of the authors are banned from Iran, and some have not been back to their country in over 20 years... so are we reading about what Iran was, or is? And if they are telling about what it is, is it a valid portrait if the author has not been there is nearly 20 years? Perhaps I just need something a little more intriguing.While there were some decent personal essays that made me think about racism, women's roles in different societies, etc., many of the critical essays were similar to my students' writing for assignments. I really couldn't stand the personal interviews, which were very weak and didn't give enough background information in order to make the read compelling... and perhaps that's my main issue with the essays? Even some of the personal essays did not give enough background information about certain aspects they were talking about, and if we read something that is not explained, we become confused and, ultimately, bored. ( )
In the first anthology of its kind, Lila Azam Zanganeh argues that although Iran looms large in the American imagination, it is grossly misunderstood-seen either as the third pillar of Bush's infamous "axis of evil" or as a nation teeming with youths clamoring for revolution. This collection showcases the real scope and complexity of Iran through the work of a stellar group of contributors-including Azar Nafisi and with original art by Marjane Satrapi. Their collective goal is to counter the many existing cultural and political cliches about Iran. Some of the pieces concern feminism, sexuality, or eroticism under the Islamic Republic; others are unorthodox political testimonies or about race and religion. Almost all these contributors have broken artistic and cultural taboos in their work. Journalist Reza Aslan, author of No God But God,explains why Iran is not a theocracy but, rather, a "mullahcracy." Mehrangiz Kar, a lawyer and human rights activist who was jailed in Iran and is currently a fellow at Harvard's Kennedy School of Government, argues that the Iranian Revolution actually engendered the birth of feminism in Iran. Journalist Azadeh Moaveni reveals the underground parties and sex culture in Tehran, while Gelareh Asayesh, author of Saffron Sky,writes poignantly on why Iranians are not considered white in America, even though they think they are. Poet and writer Naghmeh Zarbafian expounds on the surreal experience of reading censored books in Iran, while Roya Hakakian, author of Journey from the Land of No- A Girlhood Caught in Revolutionary Iran,recalls the happy days of Iranian Jews. With a sharp, incisive introduction by Lila Azam Zanganeh, this diverse collection will alter what you thought you knew about Iran. "My Sister, Guard Your Veil; My Brother, Guard Your Eyesaims to corrode fixed ideas and turns cultural and political cliches on their heads . . . Iranians themselves live in a complex and schizophrenic reality, at a surreal crossroads between political Islam and satellite television, massive national oil revenues, and searing social inequalities."--From the Introduction by Lila Azam Zanganeh Contributors include- Azar Nafisi, author of the best-selling Reading Lolita in Tehran, Marjane Satrapi, author of Persepolis, Shirin Neshat, internationally acclaimed visual artist, Abbas Kiarostami, award-winning filmmaker of Taste of Cherry, Shohreh Aghdashloo, Oscar nominee for House of Sand and Fog, Azadeh Moaveni, author of Lipstick Jihad
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Google Books — Sto caricando le informazioni...
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Page 82. Interview with Abbas Kiarostami: Abbas says, "Then I founded the film department of the Institute for the Intellectual Development of Children and Young Adults, known as Kanun, and with the help of one of my friends (so typical not mentioning the friend's name and not giving him any credit). In this sentence, the verb "founded", which Kiarostami uses means he came across this institute, thanks to his "unknown" friend. He was not the "founder" of the institute. Misinformation.
Also, on the same page, the poor knowledge of the the interviewee/collector of this book presents itself, again. Abbas says, "In 1970, I made my first short film, called Bread and Alley, a twelve-minute feature about a young... ". "Feature" is a film that typically has a run time between 80 minutes and 180 minutes long. A 12 minute film is considered a "short".
Many errors scattered on the pages of this interviewing book.
I too have many connections and know a lot of people. Should I interview each and everyone of them and use their names to publish a book, and make a name for myself through other's achievement?!
On the same page, she even asks, WHAT WAS YOUR FIRST FILM FOR ADULTS?
Has she even watched his films? (