Edinburgh University Press
ReFocus
About this book
An Iranian immigrant struggling to integrate into 1970s German society, the filmmaker Sohrab Shahid Saless (1944–98) has become a neglected figure in discussions of diaspora cinema. In this – the first English-language book to reflect on his work and its implications for creativity in the diasporic conditions of urban displacement – a range of international scholars provide a comprehensive account of Shahid Saless’s films and production methods.
Outlining his affinity with celebrated directors like Chantal Akerman and Abbas Kiarostami, as well as visual artists like Romuald Karmakar, the contributors firmly position Shahid Saless as a filmmaker who speaks forcefully to the traumas of displacement and migration.
Topics
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Frontmatter
i -
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Contents
v -
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List of Figures
vii -
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Acknowledgements
ix -
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Notes on Contributors
x -
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Foreword
xiii -
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Introduction
1 - Part I The Life and Work of Sohrab Shahid Saless
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1 Slow, Closed, Recessive, Formalist and Dark: The Cinema of Sohrab Shahid Saless
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2 Point of View, Symbolism and Music in Sohrab Shahid Saless’s Utopia
28 -
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3 The Blind Owls of Modernity: Of Protocols, Mirrors and Grimaces in Sohrab Shahid Saless’s Films
43 -
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4 A Simple Event from a Historical Perspective: What Do We Talk About When We Talk About Realism?
64 - Part II Creative Exiles
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Introduction
77 -
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5 Sohrab Shahid Saless and the Political Economy of the New German Cinema
79 -
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6 The Aesthetic of Diaspora in Moving Image Practice
101 - Part III The Stateless Moving Image
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Introduction
121 -
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7 Curating the Nomadic: Film and Video at Ambika P3
123 -
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8 A Certain Tenderness
131 -
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9 Statelessness as Practice: Sohrab Shahid Saless and the Work of Exile
141 -
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10 Screening Sohrab Shahid Saless’s Work: Contemporary Perspectives
151 -
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Interview by Behrang Samsami (Journalist) with Bert Schmidt (Shahid Saless’s Cinematographer)
159 -
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Sohrab Shahid Saless’s Filmography
166 -
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A Film about Shahid Saless
170 -
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Index
177