Iranian Cinema in the Twentieth Century: A Sensory History

This essay addresses itself to the century long history of cinema in Iran, focusing on the history of the senses as they combine with and are extended by film technologies. It argues that Khomeini's aim was to produce a transformed and Shi'ite Iran by purifying the sensorial national body by means of film technologies.     

Anxiety in Translation: Naming Existentialism before Sartre

Summary

This article examines the international debate over the most appropriate name for what became known as ‘existentialism’. It starts by detailing the diverse strands of the Kierkegaard reception in Germany in the early inter-war period, which were given a variety of labels—Existentialismus, Existenzphilosophie, Existentialphilosophie and existentielle Philosophie—and shows how, as these words were translated into other languages, the differences between them were effaced. This process helps explain how over the 1930s a remarkably heterogeneous group of thinkers came to be included under the same label. The article then shows how the word ‘existentialism’ and its cognates in other languages gained prominence because they were considered to represent best the diversity and richness of the movement. In detailing this process the article helps elucidate how existentialism emerged as an international philosophy in the period immediately following World War II, and sheds light on the ambivalence with which many have viewed both the term and the philosophy it represents.     

Kazantzakis and the Cinema

Abstract

Alexis Zorbas unwittingly displays a knowledge of the cinema when he says to the Boss, <inline-graphic href="splitsection8_in1.tif"/><inline-graphic href="splitsection8_in2.tif"/><inline-graphic href="splitsection8_in3.tif"/>. [‘Anything we couldn't say with our mouths we said with our feet, our hands, our belly or with wild cries'.] Kazantzakis himself once said the same thing in a different way: ‘To succeed in transforming the abstract concepts into simple, clear images is my great aspiration’. These words – written to his future wife Eleni Samios and referring to the cinema's influence on The Odyssey – are the starting point for the rest of Kazantzakis' more complex theories on film, the distillation of the lessons he learned from motion pictures and later applied to his writing. But before continuing, we can create a helpful context for the author's concern with film by supplying some historical background.