When Stories Travel: Cross-Cultural Encounters between Fiction and Film

When Stories Travel: Cross-Cultural Encounters between Fiction and Film
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According to Dean Cristina Della Coletta, it is the largest foundation award the division has received in support of the humanities. Dean Della Coletta said on a press release about IAH, By supporting the division's diverse independent programs, IAH elevates the role of arts and humanities on campus through cross-divisional and cross-campus education programs, through centers dedicated to specific regional or cultural studies, and through agile lab-style research collaborations and initiatives focused on multidisciplinary themes.

Highlights in thisweek ucsandiego. Learn about her views and perspectives and see an excerpt of her interview. During its launch on Feb. The UCSD Alumni and Community Engagement enterprise has designed the new resource center to inform and educate undergraduate students about the process of starting or joining startup businesses through its three programs: Seekers, Incubator and Accelerator.

Cosmopolitan Cinema

He had an absurd feeling. He was not sure if he had truly exited the house in that night. Consequent incidents had taken place one after the other so simply and absurdly that he could no longer know which was real and which was crafted by his mind. He felt that something was missing in his surrounding space.

He was sure of only one thing: there was no way for him to return to that house.

There was no way for him to sit on that sofa in the middle of the living room, like every other day, and think about running away. That was the only thing that could help him know the boundary between dream and reality. Eventually on the road, half asleep and in a delirious state, Ehsan receives a voice message from his mother in which she is crying and begging him to return home because Yalda is not feeling well.

Now the audience sees Ehsan staying with his family and taking care of Yalda, who has descended into absolute insanity. Yalda recovers from her delusion and accepts his proposal. The chair can be taken as the seat of a film director, an accomplished writer, or an absent dreamer. The audience is not sure if Ehsan is actually there or not, although Yalda has been setting the table for four. In the penultimate sequence, we see Ehsan at the movie theater, his visage illuminated by the lights turned on after the film, which suggests new light has been projected on his circumstances fig.

At this point both Ehsan and Tavakoli are adapting, remediating, and remaking a story that has already been written and performed. Those who watch the same film twice in a row sound peculiar. But this is a feeling one cannot explain to all. When the characters of a film are still alive and are breathing in your brain, you can stare at their eyes on the screen, you can talk to them, and change their destiny.

Thus you can remake the real in the form of a dream or illusion. The moment the lights turn off, the miracle happens, right at the moment you feel that there is no way left to escape. What matters is that you can carry on. Everything starts right from here. They experience similar desires and frustrations, and they both take refuge in movie theaters. But their respective justifications for that habit point to the different worlds they dwell in.

Cross-Cultural Encounter

To Tom, cinema is a window to the bigger world he feels he is missing, whereas to Ehsan the cinema is that bigger world itself. He seeks his dreams within the frames of cinema rather than outside it. Iranian cinema of the s and s has had a significance in the public culture matched only by the modernist Persian poetry of the s through the s. Writing for cinema places him in the position of re-narrating his life by cinematizing it. In his world, cinematic narrative, not poetry, has the power to transgress domestic limitations, just as numerous Iranian films did in gaining international credibility despite local obstacles and censorship.

In twenty-first-century Iran, going to movie theaters is less an act of defiance than it was for Dabashi, at least for the majority of cinemagoers in the metropolitan and highly modernized Tehran. However, a considerable number of young individuals like Ehsan still look to movie theaters not only for shelter for their transgressive voices but also for a way to effect social and political change. Iranian cinema continues to be a messenger of modernity and a carrier of intellectual emancipation. Although art film cuts the highest profile in post-revolutionary Iranian cinema, aesthetic priorities share the stage with the ideal of social commitment.

Generation after generation, young and influential filmmakers energize Iranian cinema with challenges to restrictive social and political realities. Hollywood characters are supposed to have all the adventures for everybody in America, while everybody in America sits in a dark room and watches them have them! Ehsan is not only an Iranianized version of Tom but also an Iranianized cinema fan who looks at cinema and Hollywood from a non-American point of view. American films speak to him in a different way than they speak to Tom.

Ehsan envisions the possibility of change within and through those frames, through narrativity and imagination, instead of beyond it, and his dream of emigration is integrated with his dream of writing for the cinema. Ehsan emerges as Tom not only through his role in the plot but also through his tone and speech.

I want to go out to commit crimes. I had hidden a tommy gun among my film magazines, and I used to kill people with it until morning. Then in the morning I would return to the opium den, and to hide myself I wore a false mustache, Mom! Oh, Mom, where is my false mustache?

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You see? Now you know why I sleep talk at night?

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Magical realism and contemporary post-colonial literature in English. Editor s : Jacqueline Bardolph. How some Western writers' works have shaped Murakami's work. Puppet Kong vs. Facets of Trauma in the Post-Colony and Beyond. Editor s : Michael Meyer.

Because a mafia gang is looking for me. They want to explode our house with dynamite. In return, after we die, to keep us amused, tell us about your twenty suitors and what each one has left to his wife, in those villages of Kurdistan. Let me tell you something, Mom, dying is better than going crazy while feeling sane! My enemies plan to dynamite this place.

The audience does not see the screen Ehsan is watching but hears the dialogue. Tavakoli redomesticizes the spatially specific St. Louis play in the sociocultural sphere of twenty-first-century Tehran, in an old building occupied by a lower-middle-class family that is isolated from the surrounding world. Three brief precredit scenes show Ehsan and his mother in their social zones outside the home and Yalda inside the domestic shelter of the home. Together, they all contextualize the title: Here without Me.

Throughout the film, a sofa—an old one at first, but soon replaced by a new one—is the focal point in the interior space. The small kitchen, an extra room built on the corner of the balcony, is also charged with spatial subjectivity: it carries strong Middle Eastern connotations as a central domestic zone for feminine creativity and captivity through centuries, the products of which constantly connect family members.

The kitchen scenes complement sequences shot in the food-processing factory where Farideh works, showing her in domestic and public zones, preparing food or food ingredients for a nonprotective urban society in both fig. The adaptability of Amanda Wingfield from a faded Southern belle into a struggling Middle Eastern working woman fighting for her family and her dreams offers the filmmaker the opportunity to explore some universal challenges and some culturally specific ones.

Farideh not only confronts the frustrating realities of a family life that features a missing husband, a disabled daughter, and a dreamy son but also faces the harsh realities of an imbalanced urban society that constantly tramples her rights as a citizen and a female worker. Her Iranian counterpart, whose hijab might at first visually estrange her from non-Iranian viewers, turns out to be much more actively engaged in fighting the sociocultural constructs of her surrounding world and perhaps much more like those viewers.

Nevertheless, Farideh remains Amanda-like in her dreaminess and her fancies, which range from the idea of selling makeup over the phone to the hope of finding a suitor for her daughter. The film places its four characters and their interactions on an illusion-reality spectrum, with Yalda and Reza Laura and the gentleman caller standing at opposite ends: one immersed in an imaginary glass world, and the other one walking on the firm ground of reason.

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Ehsan and his mother are somewhere between the two ends of the spectrum, each accusing the other of being unable to face reality. Taking a step back, Ehsan denies having been serious. He is a seize-the-day type of person with a great deal of sympathy for and understanding of others.

10 Book-to-Screen Adaptations We Can’t Wait For

Reza, in his mature and considerate presence, opposes the void that surrounds the other three characters. He is the emblem of the vitality and hope otherwise absent.

unmardeposibilidades.es/modules/mitchell/636.php Ehsan presents a significantly cinematized Tom compared with his two Hollywood counterparts. He stares at his own life with detached eyes instead. Throughout the film, Ehsan is also suffering from a cold, which not only aggravates his emotional distance and physical intolerance but also functions as a visual marker of them.

Readings in Post/Colonial Literatures and Cultures in English

When Stories Travel: Cross-Cultural Encounters between Fiction and Film [ Cristina Della Coletta] on creppacletemysq.ml *FREE* shipping on qualifying offers. When Stories Travel: Cross-Cultural Encounters between Fiction and Film by Cristina Della Coletta () [Cristina Della Coletta] on creppacletemysq.ml

Unlike Amanda and Tom, Laura has been subjected to no grand cross-cultural revisionin Here without Me. Her character has received a peculiar adaptation that places her beyond any deeply integrated localization. Yalda, unlike her very much Easternized mother, is not an Iranianized young woman.

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Yalda is the only character never shown outside the home except in the dreamlike final scene, in which we see her walking in the yard in slow motion. Only once does she leave the house, to buy some cheese for breakfast, and then the camera does not accompany her. Her confinement to interior spaces suggests a character who does not fit anywhere in external society. She is simply there, in her fragile asocial world, beyond normative classifications. The Iranian actor Negar Javaherian, with her staring eyes, conveys the fragility and transparency of the character and her relation to the world she inhabits.

She blinks less than other people and gazes at her surroundings with a wide-eyed, dreamy expression fig. It might be argued that the adaptation focuses on revisualizing rather than relocalizing Laura, who in her ethereal presence does not belong to any specific time or location.