Papers by Maziyar Faridi
Conference Seminars by Maziyar Faridi
American Comparative Literature Association Annual Conference, 2021
Middle East Studies Association, 2020
In the total darkness, poetry is still there,
and it is there for you.
Abbas Kiarostami (1940-20... more In the total darkness, poetry is still there,
and it is there for you.
Abbas Kiarostami (1940-2016)
The work of mourning involves an interiorization of the one who has passed away, a turning of the dead to an appropriated image. Derrida thus reminds us of the ethics of an impossible mourning in which the dead remains within and at the same time beyond us. The gaze of the dead addresses us from within but remains unappropriated.
In 2016, world cinema lost Abbas Kiarostami (1940-2016), one of its most influential auteurs—a filmmaker who has been credited as one of the poets of cinema in the twentieth century, along with Ozu, Rossellini, and Tarkovsky. With the impossible mourning and unassimilable gaze of Kiarostami in mind, this panel invites contributions that reflect on his rich cinematic legacy and, more broadly, on the relation between cinema and poetry. What is the border, if any, between the so-called poetry and prose cinema? What are the limits and potentials of thinking cinema through linguistic terms? Whither poetic cinema in the 21st century?
Interested participants are invited to share their thoughts along the following lines:
• The Ends of the Poem / The Ends of Cinema
• Rethinking Pasolini’s “Cinema of Poetry”
• Poetic Gaze/Cinematic Gaze
• Intersemiotic Translation between Poetry and Cinema
• Impossible Mourning between Poetry and Cinema
• Poetic Critiques of Sovereignty and the Question of Cinematic Life (and Nothing More)
• Poetic Indeterminacy and Cinema
• Rhythm and Poetic Temporality in Cinema
• Experimental Cinema and Poetic Techniques
• Poetry and the New Wave Cinemas across the World
• Modernist Poetry and Cinema
• Digital Technology and Poetic Cinema
• Kiarostami’s Legacy in Iran and Beyond
While contributions in dialogue with Kiarostami’s cinema are encouraged, works invoking other filmmakers and poets are welcome as well.
Invited Talks by Maziyar Faridi
Invited by the Department of English and World Cinema Program, Clemson University.
Invited by Museum of Contemporary Art Chicago and Didaar Art Collective, 2019
On Monday, March 26, Maziyar Faridi presents his award-winning paper, “Férydoun Rahnéma’s Inappro... more On Monday, March 26, Maziyar Faridi presents his award-winning paper, “Férydoun Rahnéma’s Inappropriable Specters: Critique of Self-Identity and the Emergence of Iranian New Wave Cinema.” Faridi is the winner of the inaugural Ferdowsi Tusi Award, presented by the University Libraries and the Persian Studies program at the University of North Carolina at Chapel Hill. Faridi’s scholarly paper examines national identity and history in the cinema of Férydoun Rahnéma (1930-1975), who played a foundational role in the emergence of Iranian New Wave cinema and New Wave Persian poetry [Mowj-e No] in the 1960s and 1970s. Maziyar Faridi is a doctoral candidate in comparative literary studies at Northwestern University. He received his B.A. in English and M.A. in translation studies and English from Ferdowsi University of Mashhad in Iran.
Conference Presentations by Maziyar Faridi
American Comparative Literature Association Annual Meeting, 2021
Society for Cinema and Media Studies Annual Conference, 2021
Middle East Studies Association, 2020
Uploads
Papers by Maziyar Faridi
Conference Seminars by Maziyar Faridi
and it is there for you.
Abbas Kiarostami (1940-2016)
The work of mourning involves an interiorization of the one who has passed away, a turning of the dead to an appropriated image. Derrida thus reminds us of the ethics of an impossible mourning in which the dead remains within and at the same time beyond us. The gaze of the dead addresses us from within but remains unappropriated.
In 2016, world cinema lost Abbas Kiarostami (1940-2016), one of its most influential auteurs—a filmmaker who has been credited as one of the poets of cinema in the twentieth century, along with Ozu, Rossellini, and Tarkovsky. With the impossible mourning and unassimilable gaze of Kiarostami in mind, this panel invites contributions that reflect on his rich cinematic legacy and, more broadly, on the relation between cinema and poetry. What is the border, if any, between the so-called poetry and prose cinema? What are the limits and potentials of thinking cinema through linguistic terms? Whither poetic cinema in the 21st century?
Interested participants are invited to share their thoughts along the following lines:
• The Ends of the Poem / The Ends of Cinema
• Rethinking Pasolini’s “Cinema of Poetry”
• Poetic Gaze/Cinematic Gaze
• Intersemiotic Translation between Poetry and Cinema
• Impossible Mourning between Poetry and Cinema
• Poetic Critiques of Sovereignty and the Question of Cinematic Life (and Nothing More)
• Poetic Indeterminacy and Cinema
• Rhythm and Poetic Temporality in Cinema
• Experimental Cinema and Poetic Techniques
• Poetry and the New Wave Cinemas across the World
• Modernist Poetry and Cinema
• Digital Technology and Poetic Cinema
• Kiarostami’s Legacy in Iran and Beyond
While contributions in dialogue with Kiarostami’s cinema are encouraged, works invoking other filmmakers and poets are welcome as well.
Invited Talks by Maziyar Faridi
Conference Presentations by Maziyar Faridi
and it is there for you.
Abbas Kiarostami (1940-2016)
The work of mourning involves an interiorization of the one who has passed away, a turning of the dead to an appropriated image. Derrida thus reminds us of the ethics of an impossible mourning in which the dead remains within and at the same time beyond us. The gaze of the dead addresses us from within but remains unappropriated.
In 2016, world cinema lost Abbas Kiarostami (1940-2016), one of its most influential auteurs—a filmmaker who has been credited as one of the poets of cinema in the twentieth century, along with Ozu, Rossellini, and Tarkovsky. With the impossible mourning and unassimilable gaze of Kiarostami in mind, this panel invites contributions that reflect on his rich cinematic legacy and, more broadly, on the relation between cinema and poetry. What is the border, if any, between the so-called poetry and prose cinema? What are the limits and potentials of thinking cinema through linguistic terms? Whither poetic cinema in the 21st century?
Interested participants are invited to share their thoughts along the following lines:
• The Ends of the Poem / The Ends of Cinema
• Rethinking Pasolini’s “Cinema of Poetry”
• Poetic Gaze/Cinematic Gaze
• Intersemiotic Translation between Poetry and Cinema
• Impossible Mourning between Poetry and Cinema
• Poetic Critiques of Sovereignty and the Question of Cinematic Life (and Nothing More)
• Poetic Indeterminacy and Cinema
• Rhythm and Poetic Temporality in Cinema
• Experimental Cinema and Poetic Techniques
• Poetry and the New Wave Cinemas across the World
• Modernist Poetry and Cinema
• Digital Technology and Poetic Cinema
• Kiarostami’s Legacy in Iran and Beyond
While contributions in dialogue with Kiarostami’s cinema are encouraged, works invoking other filmmakers and poets are welcome as well.
Faridi, Maziyar. “On an Aporetic Poetics of Relation: Translation, Difference, and Identity in Modern Poetry and New-Wave Cinema of Iran (1920s-1970s).” PhD diss., Northwestern University, 2020.