FarzanehHolasu

@farzanehebh.bsky.social

Film and Media/Feminist Historiography/ stardom/ affective performance labor/Archives 🎬🎭📚Michigan State University📍 MUSE of Tragedy🐈 Coffeeholic ☕️ 🎶Unapologetic self-centered subject 🧘🏻‍♀️ 🎭Giggle at the funeral

We are announcing a call for nominations for “Graduate Student Representative”position in G&F Caucus. Graduate Rep plays a key role in supporting Caucus’s activities and strengthening graduate student engagement. Please send nominations via the Googleform: docs.google.com/forms/d/e/1F...

Call for Nominations: "Graduate Student Representative"

The Gender and Feminisms Caucus of the Society for Cinema and Media Studies (SCMS) invites applications for the "Graduate Student Representative" position. The Caucus is dedicated to supporting and pr...

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Today, Bahram Beyzaie’s passing pierced my heart. He was my homeland made flesh—a guardian of cinema, theater, literature, and culture. With him gone, it feels as though I have lost my homeland once more. What remains is only an immense emptiness, a hollow that roars and churns inside me.

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A thousand griefs & regrets, dear Mr. Beyzaei 🖤 You have flied for the world of shadows, and beneath the weight of this deep sorrow, I find myself thinking that perhaps The Stranger and the Fog (1974) was the pure distillation of our time: “There is no salvation. All that remains is to weep.”

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🎞️ Excited to see our article & translated piece featured in new issue of Screen! Very grateful for generous mentorship & collaboration of my advisor, Dr. Kaveh Askari. If you’re interested in classical film theory & its medial foundations this might be of interest! academic.oup.com/screen/artic...

Farrokh Ghaffari travels: aesthetic convergences and institutional formations

To offer required courses in classical film theory is to confront some of the most persistent geographical habits of the discipline. Growing appetite notwi

academic.oup.com

دلم برای خونه تنگه، برای چهره‌های آشنا، برای نگاه‌هایی که حرف همو میفهمن بدون اینکه چیزی بگن… ‏عیدها دلم بیشتر تنگه… As spring arrives, may it bring warmth, joy, and prosperity into our lives. Happy Nowruz!

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Join us for a special screening of Shahla Riahi’s Marjan (1956), the first feature film directed and produced by a woman in Iran, made through the first studio founded and owned by a woman.

Archives on Screen, Twin Cities@archivesonscreen.org · 2y ago

Incredible opportunity to catch this special cinematic event at Il Cinema Ritrovato on Tour in Mpls next week... MARJAN Introduction by and post-screening Q&A with Farzaneh Ebrahimzadeh Holasu farzanehebh.bsky.social Sunday, February 16 • 3:30pm 🎟🎟🎟: mspfilm.org/show/il-cine...

Many thanks to Michelle Baroody and Maggie Hennefeld for organizing this remarkable festival, showcasing Il Cinema Ritrovato’s 2024 lineup with a focus on feminist, & anti-colonial cinemas. I’m honored to take part and discuss Marjan(1956), first Persian feature directed-produced by a woman in Iran.

Archives on Screen, Twin Cities@archivesonscreen.org · 2y ago

Only two reels of the film can be viewed today, preserved by the Iranian film collector Ahmad Jorghanian, while further surviving reels in the Iranian National Film Center remain completely inaccessible. Film scholar @farzanehebh.bsky.social will present the surviving fragments in person. 🇮🇷 🎞

BIG NEWS!!! After over a century of waiting, Léontine has *finally* been named TIME Magazine's Person of the Year for 2024!!!! (The previously announced pick was an incorrect rumor.) This is a big day for Léontine & for all of us at Cinema's First Nasty Women. Please join us in celebrating!!! 🎉🎞️🎶♥️

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The unknown S.A.Makuxina — as Səkinə in Gilan Qizi [Gilan’s Daughter] (1928) By Leo Mur [Leonti Muraşko] Like Makuxina, the story of Gilan's daughter is also incomplete, and her desires, wishes, and struggles are not reflected (Gilan girl in the novel is so different).

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Sofia Jozeffi (1906–1982) played a “dual role” in the silent film Qız qalası əfsanəsi [Legend of Maiden Tower] (1924), directed by Vladimir Ballyuzek. The movie, based on one of the versions of an Azerbaijani myth, depicted a tragic tale and became a box office hit.

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At home, I had lived most intensely in the cinema. ... In those dark spaces, I had dreamed of a life elsewhere. Now, in the place that for all those years had been the “elsewhere,” no further dream was possible.

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