1.
Baneh
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Baneh is a city and capital of Baneh County, Kurdistan Province, in Irans western border. Baneh is bordered by Saqqez to the east, Marivan to the south, Sardasht to the west, according to the 2016 census, the city has a population of 115,325. After the cities of Sanandaj, Marivan, Saqqez is the fourth largest city in Kurdistan province, located in the heart of the Zagros Mountains, the vicinity is known for its unique oak forests. Baneh is a hub for trade in Iran, there are many shopping malls. The city attracts many visitors every year, many of whom come to purchase raw materials, Baneh name from the Kurdish word Ban meaning roof long and by the height and know how to deploy and position of Baneh. 1554 meters of height above sea level and the heights of the landscape is made possible to reach people in a large way to the uphill travel. City of Baneh is located in West mountainous and forested region of Kurdistan province which is surrounded by mountains like Arbaba, Jnireh, Babos, the geographical coordinates of Baneh is longitude 45 degrees 53 minutes latitude and 35 degrees 59 minutes. Around the time of the Safavid usually guarding the Iranian border, governors of Baneh and Uraman holds the title of King. Some authors believe that this title was given to them by Nader Shah Afshar, the city once before World War I and again in World War II was a burnt fiercely. The northeast cemetery of the city, is called Baneh kon, fires and tribal conflict was another cause of the displacement of city. Sulaymaniyah Sorani Kurdish dialect is the language of Baneh, Baneh is Sunni Muslim and their religion is Imam Shafii. There was a Jewish minority in Baneh, whose number was over forty families, after Israel declared independence in 1948 and the partition of Palestine, they thinking about immigration to Palestine in 1327 solar and in late 1328 immigrated and left completely Baneh. At the same time, Sardasht, Saqqez, Bokan and Marivan Jews and part of Sanandaj and Mahabad, one of its effects, commodity prices were coming down. Thats why the field of making shopping malls to selling cross-border cheaper goods arose and this process during 20 years made Baneh one of the most important economical hubs in the country. Annual circulation of money reaches more than 100 million dollars, after flourishing the economy and trading in Baneh, people all around the country made Baneh, one of their traveling goals to buy the cheaper goods. Annually Baneh visited by more than 2 million tourists, Baneh also have a very beautiful and astonishing nature, jungle parks and untouched forrests and advancing in the tourism industry either made the city a fine place for travelers
2.
Iran Broadcasting University
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The Iran Broadcasting University formerly known as the Iran Broadcasting College is a public University in Tehran, Iran. It is affiliated to I. R. I. B and also has campuses in Qom, the first name of the institution was the Technical Training Center, which was later changed to IRIB University. In 1982 diplomas in production were promoted to bachelors degrees and in 1995 and 1996 degrees in technical engineering, in 1997 a communications degree was created to join together academic disciplines. IRIB also established a school in Qom in 1997 which teaches up to degree level
3.
Cinema of Iran
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The cinema of Iran or cinema of Persia refers to the cinema and film industries in Iran which produce a variety of commercial films annually. Iranian art films have garnered fame and now enjoy a global following. Along with China, Iran has been lauded as one of the best exporters of cinema in the 1990s, some critics now rank Iran as the worlds most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades. A range of film festivals have honored Iranian cinema in the last twenty years. The earliest examples of visual representations in Iranian history may be traced back to the bas-reliefs in Persepolis, bas relief is a method of sculpting which entails carving or etching away the surface of a flat piece of stone or metal. Persepolis was the center of the ancient kingdom of Achaemenids. Iranian visual arts maybe said to have peaked about a years later during the Sassanian reign. A bas-relief from this period in Taq Bostan depicts a hunting scene. Similar works from the period have been found to articulate movements and it is even possible to see the progenitor of the cinema close-up, a wounded wild pig escaping from the hunting ground, among these works of art. After the conversion from Zoroastrianism to Islam — a religion in which symbols were avoided — Persian art continued its visual practices. Persian miniatures provide great examples of such continued attempts, the deliberate lack of perspective in Persian miniature enabled the artist to have different plots and sub-plots within the same image space. A very popular form of art was Pardeh Khani. Another type of art in the category was Naqqali. Popular dramatic performance arts in Iran, before the advent of cinema, include Marionette, Saye-bazi, Rouhozi, Cinema was only five years old when it came to Persia at the beginning of the 20th century. The first Persian filmmaker was Mirza Ebrahim Khan Akkas Bashi, the photographer of Muzaffar al-Din Shah. After a visit to Paris in July 1900, Akkas Bashi obtained a camera and he is said to have filmed the Shahs private and religious ceremonies, but no copies of such films exist today. A few years after Akkas Bashi started photography, Khan Baba Motazedi and he shot a considerable amount of newsreel footage during the reign of Qajar to the Pahlavi dynasty. The first public screening took place in Tehran in 1904, presented by Mirza Ebrahim Khan Sahaf Bashi and he arranged the screening in the back of his antique shop
4.
Sanandaj
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Sanandaj pronunciation At the 2016 census, its population was 373,987 Sanandaj is the capital of Kordestan province at Iran. Sanandaj is the twenty-third largest city in Iran, Sanandaj is not old and was founded about 200 years ago, yet under its short existence it has grown to become a center of Kurdish culture. The population of Sanandaj is mainly Kurdish, the city also had an Armenian minority who gradually emigrated from the city. Until the Iranian Revolution, the city had a small Aramaic-speaking Jewish community of about 4,000 people, the city boasted a sizable Assyrian community that spoke a unique dialect of Aramaic called Senaya. The economy of Sanandaj is based upon the production of carpets, processed hides and skins, milled rice, refined sugar, woodworking, cotton weaving, metalware, the Ardalani dialect of Kurdish is spoken in Sanandaj and its surroundings. Ardalani dialect is distinct to Kurdistan province and is spoken in Sanandaj, the other important dialect of Sorani Kurdish is Mokriani which is spoken in Mokrian region in the cities of Piranshahr and Mahabad in West Azerbaijan province. Under the Iranian revolution Komalah took control over the city under a period of time. Famous Swedish economist and author of Kurdish Iranian origin Tino Sanandaji was born in Sanandaj, Sanandaj Sanandaj Online Community Islamic Azad University of sanandaj
5.
8 mm film
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8 mm film is a motion picture film format in which the film strip is eight millimeters wide. It exists in two main versions — the original standard 8 mm film, also known as regular 8 mm or Double 8 mm, and Super 8. Although both standard 8 mm and Super 8 are 8 mm wide, Super 8 has a larger image area because of its smaller and more widely spaced perforations. There are also two varieties of Super 8—Single 8 mm and Straight-8 that require different cameras, but produce a final film with the same dimensions. After the film is developed, the processor splits it down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge. Each frame is half the width and half the height of a 16 mm frame, so there are four times the number of frames in a film area. Because of the two passes of the film, the format was sometimes called Double 8, the frame size of regular 8 mm is 4.8 mm ×3.5 mm and 1 meter of film contains 264 pictures. Normally Double 8 is filmed at 16 or 18 frames per second, common length film spools allowed filming of about 3 minutes to 4.5 minutes at 12,15,16 and 18 frames per second. Kodak ceased sales of standard 8 mm film under its own brand in the early 1990s, but continued to manufacture the film, some specialists also produce Super 8 mm film from existing 16 mm, or even 35 mm film stock. In 1965, Super-8 film was released and was adopted by the amateur film-maker. It featured a better quality image, and was easier to use due to a cartridge-loading system that did not require reloading and rethreading halfway through. In reality, this was not the case, the plastic pressure plate could be moulded to far tighter tolerances than their metal counterparts could be machined. To easily differentiate Super 8 film from Standard 8, projector spools for the former had larger spindle holes, therefore, it was not possible to mount a Super 8 spool on a Standard 8 projector, and vice versa. Another version of Super-8 film, Single-8, was produced by Fuji in Japan, introduced in 1965 as an alternative to the Kodak Super 8 format, it had the same final film dimensions, but with a different cassette. Unlike the co-axial design of Super 8, the Single 8 cartridge featured one spool above the other. A number of companies offered single width 8 mm film in magazines or spools. The first single run 8mm film was offered in 1935 with a Bell & Howell movie camera Filmo 127-A called Straight Eight. Single width 8 mm film revived in the United States by Bolsey-8 in 1956, introduced in 2011 by Nicholas Kovats, and implemented by Jean-Louis Seguin, this format uses Standard 8 film in a modified Bolex camera
6.
Abbas Kiarostami
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Abbas Kiarostami was an Iranian film director, screenwriter, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy, Close-Up, Taste of Cherry – which was awarded the Palme dOr at the Cannes Film Festival that year – and The Wind Will Carry Us. In his later works, Certified Copy and Like Someone in Love, he filmed for the first time outside Iran, in Italy and Japan, Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator and these filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues. He is also known for his use of Persian poetry in the dialogue, titles, Kiarostamis films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death and he majored in painting and graphic design, and supported his studies by working as a traffic policeman. As a painter, designer, and illustrator, Kiarostami worked in advertising in the 1960s, designing posters, between 1962 and 1966, he shot around 150 advertisements for Iranian television. In the late 1960s, he began creating credit titles for films and its debut production and Kiarostamis first film was the twelve-minute The Bread and Alley, a neo-realistic short film about a schoolboys confrontation with an aggressive dog. The department became one of Irans most noted film studios, producing not only Kiarostamis films, but acclaimed Persian films such as The Runner and Bashu, in the 1970s, Kiarostami pursued an individualistic style of film making. When discussing his first film, he stated, Bread and Alley was my first experience in cinema, I had to work with a very young child, a dog, and an unprofessional crew except for the cinematographer, who was nagging and complaining all the time. Well, the cinematographer, in a sense, was right because I did not follow the conventions of film making that he had become accustomed to, following The Experience, Kiarostami released The Traveler in 1974. The Traveler tells the story of Qassem Julayi, a troubled and troublesome boy from a small Iranian city. Intent on attending a match in far-off Tehran, he scams his friends and neighbors to raise money. In addressing the boys determination to reach his goal, alongside his indifference to the effects of his actions, the film examined human behavior. It furthered Kiarostamis reputation for realism, diegetic simplicity, and stylistic complexity, in 1975, Kiarostami directed two short films So Can I and Two Solutions for One Problem. In early 1976, he released Colors, followed by the fifty-four-minute film A Wedding Suit, Kiarostamis first feature film was the 112-minute Report. It revolved around the life of a tax collector accused of accepting bribes, in 1979, he produced and directed First Case, Second Case
7.
The Wind Will Carry Us
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The Wind Will Carry Us is a 1999 Iranian film by Abbas Kiarostami. The title is a reference to a written by the modern Iranian poet Forough Farrokhzad. The Wind Will Carry Us opened to positive reviews from critics, in 1999. It won the Grand Special Jury Prize, the FIPRESCI Prize, and it received numerous other nominations and awards as well. The main engineer is forced to slow down and appreciate the lifestyle of the village, the Wind Will Carry Us is a poetic interpretation of issues such as life and death, the modern and traditional, and the local and global. A traditional village with its old rituals and laid-back life is visited by three strangers whose intentions are mysteriously kept back from the village, a cell phone connects the remote village to an external world that seems to be waiting for the ancient to die. The urbanite visitors interfere with the routines of secluded lives. At times, the local appears to be defenseless regarding his presence, the two worlds do not confront each other, however, nor do old and new. Rather, these binary oppositions melt in a landscape that shies away from providing answers. There are several references to the poems of Iranian poets such as Omar Khayyám and Forough Farrokhzad in the film that are all about the ideas of life, the Wind Will Carry Us opened to wide acclaim from critics. Many hailed it as a masterpiece, the film further cemented Kiarostamis position as one of art-house circles favorite directors of recent years. In a hugely positive review Jonathan Rosenbaum wrote, This ambiguous comic masterpiece could be Abbas Kiarostamis greatest film to date and you have to become friends with this movie before it opens up, but then its bounty is endless. The Seattle Post-Intelligencers Sean Axmaker called it a celebration of the human spirit nothing short of sublime, michael Atkinson, after seeing the film in the first days of 2000, said, the best film well see this year, and stood by his word. J. Hoberman wrote, Its part of the movies formal brilliance that, suddenly, during its final 10 minutes, the Wind Will Carry Us is a film about nothing and everything—life, death, the quality of light on dusty hills. The film currently holds an 86/100 score on review aggregator Metacritic, the Wind Will Carry Us was nominated for the prestigious Grand Prix of the Belgian Syndicate of Cinema Critics. Kiarostami himself has not worked on film since, preferring the more portable, call it the first true movie of the digital revolution. In a 2012 poll by the British Film Institute, six critics, including Rosenbaum, ranked The Wind Will Carry Us one of their 10 favorite films. about. com
8.
A Time for Drunken Horses
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A Time for Drunken Horses is a 2000 Iranian film directed by Bahman Ghobadi and produced in Iran. It was a co-winner of the Caméra dOr award at the Cannes Film Festival in 2000, an Iranian Kurdish family is trying to survive after the death of its parents. Ayoub, the eldest boy in the family, becomes the head of the household, Madi, Ayoubs handicapped brother, is in need of a medical operation. Ayoub goes to lengths to collect money for the operation by smuggling truck tires with a group of Kurdish villagers near the Iran-Iraq border. Ayoub ultimately falls short of his goal and his uncle decides to marry off his sister in return for the grooms family financing Madis operation on the Iraqi side of the border. When they arrive the mother of the groom refuses to accept Madi and agrees to give Ayoub, Ayoub decides to take the mule to Iraq where it is worth more, and sell it to pay for his brothers surgery. Some smugglers let him come along with him and they use mules to carry goods and feed them liquor allowing them to better survive the harsh mountain winter. But they are ambushed while heading to the border, and the horses are too drunk to carry on, Ayoub narrowly manages to escape, and the last shot is of him and his brother crossing the border. Best Film Award, Golden Camera, Cannes Film Festival, France,2000, special Jury Award, Silver Hugo, Chicago International Film Festival, USA,2000. Best Feature Award, Edinburgh Film Festival, Scotland, UK,2000, best Feature Award, Santa Fe Film Festival, Fort Lauderdale, USA,2000. Grand Jury Award, São Paulo International Film Festival, Brazil,2000, best Feature, Banff International Film Festival, Canada,2000. Special Jury Award, Gijón International Film Festival, Spain,2000, best feature Award, Children Film Festival, Isfahan, Iran,2000
