955 research outputs found
Taxi Teherán (Jafar Panahi)
No full textAnálisis de película Taxi Teherán (Jafar Panahi)Depto. de Ciencias de la Comunicación AplicadaFac. de Ciencias de la InformaciónTRUEpu
Los subterfugios digitales de Jafar Panahi
No full textDos temas se encuentran en la aplaudida cinematografía de Jafar Panahi (1960): la exposición de las contradicciones de la sociedad iraní y el cuestionamiento del dispositivo cinematográfico. El abordaje de ambas problemáticas ha continuado en la última década, a pesar de la prohibición de dirigir impuesta por los ayatolás. Esto ha sido posible, en gran medida, por las oportunidades que supone la digitalización de las formas de registro y distribución del material audiovisual. En largometrajes como Este no es un filme (2011) y Taxi (2015), Panahi continúa con el examen de las convenciones cinematográficas que comenzó en El espejo (1997), e invita a ver un filme que “se hace solo”, es decir un dispositivo que funciona sin la participación de un director o narrador consciente, sino por la simple actividad de un camarógrafo (que no acepta instrucciones) o la operación de un artefacto (la cámara en la cabina del taxi o en el teléfono celular de uno de los pasajeros). De esta manera, Panahi elude la censura gubernamental, al mismo tiempo que hace evidentes ciertos rasgos de la narración audiovisual en el contexto de la digitalización y las nuevas tecnologías
Panahi (Badi) Vorurteile, Rassismus, Antisemitismus, Nationalismus in der Bundesrepublik heute. Eine empirische Untersuchung
No full textBensimon Doris. Panahi (Badi) Vorurteile, Rassismus, Antisemitismus, Nationalismus in der Bundesrepublik heute. Eine empirische Untersuchung. In: Archives de sciences sociales des religions, n°52/2, 1981. p. 273
Le ballon blanc. Film iranien de Jafar Panahi. Caméra d'Or au festival de Cannes 1995
No full textVideau André. Le ballon blanc. Film iranien de Jafar Panahi. Caméra d'Or au festival de Cannes 1995. In: Hommes et Migrations, n°1195, février 1996. Cités, diversité, disparités. Quelques mécanismes de ségrégation. p. 55
James Lantolf’s 50-Year Research Contribution to SLA through Sociocultural Theory: A Systematic Review
No full textAli Panahi and Hassan Mohebbi review James P. Lantolf’s 50-years of research in Sociocultural Theory and language-related issues. They read through his whole research works spanning a period of almost 50 years. To accomplish the systematic review, varying procedures were operationalized. All of his research works were first browsed and attempted to be accessed, based on which the objective themes were extracted and James P. Lantolf’s overall achievements were represented. Then, on the ground of a subjective framework and impressionistic criteria, some exclusion and inclusion rules were created for the systematic review. Next, the analysis was performed in the light of five components including his research works, theoretical justification, practical justification, micro-themes and macro-themes. In the end, James P. Lantolf provided his personal discussion and reflection on the systematic review
Features of auteur cinema in the films of Iranian director Jafar Panahi and sociopolitical context.
No full textMultimediju komunikācijaInformācijas un komunikācijas zinātnesMultimedia CommunicationInformation and Communication SciencesŠogad februārī tika atbrīvots Irānā prettiesiski ieslodzītais disidents Džafars Panahi, kura filmām uz politiskā režīma likto šķēršļu fona ir nozīmīga loma irāņu kino. Bakalaura darba “Autorkino iezīmes irāņu režisora Džafara Panahi filmās un sociālpolitiskais konteksts” mērķis bija noskaidrot raksturīgākās autorkino iezīmes Panahi kinodarbos, ņemot vērā kinodarbu sociālpolitisko kontekstu. Galvenie teorētiskie ietvari bija autorkino teorija, kino valoda (naratīvs, mizanscēna, operatora māksla, montāža, skaņa), irāņu kino (arī politika, sociālie procesi) un Panahi biogrāfija, filmogrāfija. Izmantojot kvalitatīvo kontentanalīzi, kvantitatīvo kontentanalīzi un kontekstuālo analīzi, darbā pētītas filmas “Baltais balons”, “Spogulis”, “Aplis”, “Tumšsarkanais zelts”, “Aizmugurē”, kā arī darbi, kas tapuši laikā, kad režīms autoram bija aizliedzis veidot filmas, proti, “Šī nav filma”, “Aizvērtais aizkars”, “Taksometrs” un “Trīs sejas”.
Pētījumā izdarīti vairāki secinājumi par Panahi kino raksturīgajām iezīmēm un filmu sociālpolitisko kontekstu. Par pirmo - kā piemērus var minēt viņa sarežģītos naratīvus, fikcijas un realitātes mijiedarbi, “ceturtās sienas” laušanu, Irānā aktuālo problēmu atspoguļojumu, kas balstīts reālās pieredzēs, notikumos, atvērtos finālus, simbolus, metaforas, alegorijas, cikliskumu, intertekstualitāti (t.sk. vizuālos citātus), marginalizētos varoņus, kas nav ļaunprātīgi un pastāvīgi tiek pakļauti sociālās vides ietekmei, filmēšanu reālās lokācijās, videokameras dieģetizēšanu, vardarbības klātbūtni bez nosakāma vardarbības avota, varoņu radītu inscenējumu, izmantojot mizanscēnu, neprofesionālos aktierus, kas tēlo sevi, garos plānus un augsto ASL (31 sekunde), apļveida kameras kustību, filmējumu ar dažāda veida kamerām lieguma laikā, nedieģētiskos iestarpinājumus u.c. Analizējot otro, atklāti sociālpolitiskie notikumi, kas klātesoši filmēšanas procesā vai iezīmēti filmās, sākot ar bērnu aktieriem, dzimumu un ekonomisko nevienlīdzību un beidzot ar represijām pret radošās industrijas pārstāvjiem.In February of this year, Jafar Panahi, a dissident illegally imprisoned in Iran, was released from prison. His films, made against the backdrop of obstacles imposed by the political regime, play an important role in Iranian cinema. The aim of the bachelor’s thesis “Features of auteur cinema in the films of Iranian director Jafar Panahi and socio-political context” was to find out the most characteristic features of auteur cinema in Panahi’s films, considering the socio-political context of these films. The main theoretical frameworks were auteur theory, the language of film (narrative, mise-en-scene, cinematography, montage, sound), Iranian cinema (also politics, social processes) and Panahi’s biography, filmography. By using qualitative content analysis, quantitative content analysis and contextual analysis, the thesis examines the films “The White Balloon”, “The Mirror”, “The Circle”, “Crimson Gold”, “Offside”, as well as works created when the author was banned from making films by the regime, namely “This Is Not a Film”, “Closed Curtain”, “Taxi” and “3 Faces”.
The research draws several conclusions about the characteristic features of Panahi’s cinema and the socio-political context of the films. About the former - as examples can be mentioned his complex narratives, interactions between fiction and reality, breaking of the fourth wall, representation of current issues in Iran based on real experiences, events, open endings, symbols, metaphors, allegories, cyclicality, intertextuality (including visual quotations), marginalized characters who are not evil and are constantly exposed to the influence of their social environment, filming in real locations, diegetization of the video camera, the presence of violence without an identifiable source, staging created by characters using mise-en-scene, non-professional actors playing themselves, long takes and high ASL (31 seconds), circular camera movement, filming with different types of cameras during the ban, nondiegetic inserts etc. By analyzing the latter, the socio-political events present in the filming process or marked in the films, starting with child actors, gender inequality, economic inequality and ending with repression against representatives of the creative industry, were revealed
CINEMA E REPRESSÃO: A VONTADE DE VERDADE DE JAFAR PANAHI
No full textThe article analyzes the film In film nist (2011), by the Iranian filmmaker Jafar Panahi, as a form of resistance to the silencing imposed by the Iranian government on his artistic production, since, in 2009, the filmmaker displeased the authorities of his country by supporting Mir Hussein Mussavi, the opposition candidate in the presidential election. Thus, Panahi was sentenced to 6 years of house arrest and banned from filming for 20 years, however, the filmmaker called his cameraman friend Mojtaba Mirtahmasb to record his routine in one day inside his own apartment and produced a questioning film. Contemporary Iranian cinema inaugurated a new modality of realism, whose filmmakers build “documentary fictions”, in which scripts are inspired by real stories. The restorative realism of Iranian cinema seeks to restore a fullness to the complex reality that only cinema would be able to achieve, using, for this, the resumption of episodes that happened in the historical and social world. It must be considered that the production of discourses, in any society, is controlled with the aim of conjuring its powers and dangers, weakening the effectiveness of uncontrollable events, with the aim of hiding the forces that materialize the social constitution. In order for the “will to truth” to be satisfactorily exercised, external and internal procedures to the discourse are used. While procedures external to discourse limit the production of discourses, interdicting the word, and defining what can be said/not said in each circumstance, through the “object taboo” and the privileged or exclusive right of the speaker; the procedures internal to the discourse have the function of classifying, ordering and dictating their distribution. O artigo analisa o filme In film nist (2011), do cineasta iraniano Jafar Panahi, como forma de resistência ao silenciamento imposto pelo governo do Irã à sua produção artística, pois, em 2009, o cineasta desagradou as autoridades do seu país ao apoiar Mir Hussein Mussavi, o candidato oposicionista na eleição presidencial. Dessa forma, Panahi foi condenado a 6 anos de prisão domiciliar e proibido de filmar por 20 anos, contudo, o cineasta chamou o amigo cinegrafista Mojtaba Mirtahmasb para registrar a sua rotina em um dia dentro do seu próprio apartamento e produziu um filme questionador. O cinema iraniano contemporâneo inaugurou uma nova modalidade de realismo, cujos cineastas constroem “ficções documentais”, em que os roteiros são inspirados em histórias reais. O realismo restituitivo do cinema iraniano procura restituir à complexa realidade uma plenitude que só o cinema seria capaz de alcançar, utilizando, para isso, a retomada de episódios acontecidos no mundo histórico e social. Deve-se considerar que a produção de discursos, em qualquer sociedade, é controlada com o desígnio de conjurar-lhe os poderes e os perigos, enfraquecendo a eficácia de eventos incontroláveis, no intuito de ocultar as forças que materializam a constituição social. Para que a “vontade de verdade” seja exercida satisfatoriamente, são utilizados, portanto, procedimentos externos e internos ao discurso. Enquanto os procedimentos externos ao discurso limitam a produção de discursos, interditando a palavra, e definindo o que pode ser dito/não-dito em cada circunstância, através do “tabu do objeto” e do direito privilegiado ou exclusivo de quem fala; os procedimentos internos ao discurso possuem a função de classificar, ordenar e ditar sua distribuição
Paractinolaimus persicus Panahi & Shokoohi & Clausi & Mashela 2019, sp. n.
No full textParactinolaimus persicus sp. n. (Figs. 1–3) Measurements: Table 1. Adult: Body straight or slightly curved after fixation. Cuticle thickness 2.9–3.8 µm in anterior part, 3.8–4.3 µm in mid body and 5.8–6.8 µm in posterior part of the body. Lip region rather low, slightly offset from the adjoining body, anteriorly truncate, with laterally rounded sides, 2.7–2.8 times as wide as high; two circles of six inner and six outer labial papillae are slightly visible but not prominent. Lip region provided with a corrugated vestibular ring. Amphids stirrup-shaped, with a slit like opening occupying 38–44% of lip region diameter. Buccal cavity wall strongly sclerotized; four massive, acuminate onchia start from the wall to surround the odontostyle, each appearing first as a thin lamina and then, in proximity of the odontostyle, very thick and sclerotized. The stomal wall and the onchia are covered with tiny, sparse denticles. Odontostyle massive, about 1.2 times the lip region diameter long and 8.3–9.5 times as long as wide, with aperture occupying 45–56% of its length. Odontostyle width 0.75–1.0 times the cuticle at the same level. Odontophore rod-like, simple, 1.9–2.1 times the odontostyle length. Guiding ring “double”, fixed ring at 18.4–19.4 µm from anterior end. Two body pores present dorsally at odontostyle level in one specimen. Pharynx consisting of a slender but muscular anterior region, with a slight constriction 50–57 µm behind the base of odontostyle, and a posterior expanded part; the glandularium occupies 52–53% of neck length; pharyngeal gland nuclei located as follows (n = 5): D = 47–54, AS 1 = 62–70, AS 2 = 68– 70; PS = 75–89%. Nerve ring at 24–26% of neck length. Cardia consisting of a discoid, partly glandular section between pharynx and intestine, and a conoid part projecting into the latter. Prerectum 2.0–2.2 times and rectum 0.4–0.6 times as long as anal body diameter. Female. Reproductive system didelphic amphidelphic, well developed, with anterior and posterior branches of similar length, each composed of reflexed ovary, 165–307 µm long, oocytes arranged first in one and then in two rows, oviduct with a small pars dilatata and uterus bipartite, 152–311 µm long: distal part with very narrow lumen and proximal part enlarged. Eggs two to four in the uterus, 46–49 × 76–85 µm in dimension. No sperm observed in the uterus. A sphincter is present at the junction between uterus and oviduct. Vagina occupying about 0.4–0.6 of corresponding body width: pars proximalis cylindroid, pars refringens about 1.4–1.5 times as wide as long and composed of two pieces, square to triangle shaped, each 3–4 µm × 2–3 µm in dimension, and pars distalis short. Vulva a small oval pore, appearing longitudinal in profile view. No advulval papillae present in any of the specimens examined. Tail elongate filiform (c’ = 3.3–5.9), curved ventrad, with pointed terminus. Male: Body “J” shaped after fixation with posterior body region more curved ventrad than in female. Genital system diorchic, with opposed testes. In addition to the pre-cloacal pair, there is a series of 17–18, contiguous, ventromedian supplements starting at 84–96 µm from cloacal opening, the most anterior of which is 177–200 µm apart from cloacal opening. Distance between two each contiguous supplement 3.9 µm. No copulatory hump observed. Spicules massive, 1.6 times the cloacal body diameter long. Tail convex conoid with blunt terminus. Prerectum 6.2 times as long as the anal body diameter. Only two pairs of caudal pores clearly visible in the male specimens. Diagnosis: The new species is characterized by having body 2.3–2.6 mm long; low, truncate lip region; four massive, acute onchia; stoma walls covered with sparse tiny denticles; odontostyle 25–28 µm long; well developed, didelphic-amphidelphic female reproductive apparatus; vulva a longitudinal oval pore; absence of advulval papillae; female tail elongated filiform (c’ = 3.3–5.9), curved ventrad, and with acute terminus; mail tail convex conoid with blunt terminus; 17–18 contiguous ventromedian supplements. Relationships: Paractinolaimus persicus sp. n., among the numerous species of Paractinolaimus described so far, and according to Vinciguerra et al. (2013), in its morphometrics mostly resembles P. baldus Thorne, 1967, P. intermedius Altherr, 1968, P. decraemerae Pedram, Niknam, Vinciguerra, Ye & Robbins, 2010 and P. chandicus Khan & Jairajpuri, 1994. This species differs from P. baldus in the value of a (32–35 vs 46), c (11.6–16.9 vs 11), c’ (3.3–6.0 vs 8.7) and in the supplement number (17–18 vs 10–11). From P. intermedius it differs in relative tail length (c’ = 3.3–5.9 vs 6–7), absence of advulval papillae (vs presence) and spicule length (71.0–75.5 vs 63–65 µm). The new species differs from P. decraemerae in body length (2.3–2.6 mm in females and 2.1–2.6 mm in male vs 2.8–3.2 mm in females and 2.1 mm in male), with rather shorter female tail (146–224 µm vs 200–238 µm), in the much more posterior pharynx subventral gland nuclei (AS = 62–70 vs 48.5–52; PS = 75–89 vs 67–69), in the more rounded eggs (46– 49 x 76–85 µm vs 35– 42 x 80–105 µm) and by always lacking advulval papillae vs one anterior and one posterior always present in P. decraemerae. From P. chandicus, the new species mainly differs in the number of ventral supplements (17–18 vs 11) and spicule length (71.0–75.5 µm vs 60 µm). Type material: Female holotype and one male paratype deposited at the Nematology laboratory, University of Limpopo, South Africa. Three female paratypes deposited at Nematology Diagnostic laboratory, Khosrow-Shirin, Fars Province, Iran. Etymology: The species is named in honour of the country, Persia, which is the former name of Iran, where the species has been found.Published as part of Panahi, Hadi, Shokoohi, Ebrahim, Clausi, Mirella & Mashela, Tu. W., 2019, Paractinolaimus persicus sp. n. (Nematoda: Actinolaimidae) from Iran, pp. 244-250 in Zootaxa 4551 (2) on pages 245-249, DOI: 10.11646/zootaxa.4551.2.9, http://zenodo.org/record/262284
Exposition : Mohamed Bouklila, Saïd Abdouni et Bahman Panahi, Calligraphie, Centre culturel algérien, Paris, 04/12/2013-04/01/2014
No full textExposition collective de calligraphie ogranisée au CCA avec la participation de talents confirmés à l'image de Said ABDOUNI, un artiste bercé par la double culture franco-algérienne, autodidacte mais sans cesse à la recherche de la perfection, de l'iranien Bahman PANAHI, calligraphe, peintre et musicien et de Mohamed BOUKLILA, qui s’est orienté depuis le début de son activité vers une représentation de la culture saharienne et touareg. Saïd ABDOUNI,Artiste peintre, calligraphe Né en 1959 à P..
sj-docx-1-jpx-10.1177_23743735231179041 - Supplemental material for The Impact of Patient Autonomy Among Uninsured Free Clinic Patients
No full textSupplemental material, sj-docx-1-jpx-10.1177_23743735231179041 for The Impact of Patient Autonomy Among Uninsured Free Clinic Patients by Samin Panahi, Brenda Spearman, Justine Sundrud, Mason Lunceford and Akiko Kamimura in Journal of Patient Experience</p
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