Landscape and Gentrification: The Picturesque and Pastoral in 1980s New York Cinema

In this article I discuss 1980s New York cinema through the conceptual lens of landscape, drawing in particular on the interconnected but separate traditions of the pastoral and the picturesque. While the former mode of representing landscape is idealizing (the shepherd/nymph‐motif), the latter with its origins in the period of the enclosures of the English countryside tends to aestheticize poverty and dispossession. This distinction can productively be deployed in relation to tensions between glamorization and exploitation in 1980s New York cinema, which often dealt with the themes of rent, eviction, and unemployment in postindustrial settings. Focusing in particular on Downtown 81 (Edo Bertoglio, 1981/2000) and Desperately Seeking Susan (Susan Seidelman, 1985), I argue that the current nostalgia for a pre‐gentrified and less regulated New York in popular culture is dependent on these idealizing and aestheticizing tendencies insofar that they conceal or prettify some of the darker aspects of the period.     

Imagining the Diaspora in the New Millennium Comedies of Iranian Cinema

This article examines the genre of comedy in Iranian cinema and explores the various influences on its development and growth. It demonstrates how the roots of recent comedies can be traced back to pre-Revolution commercial cinema (known as filmfarsi) as well as the traditional Iranian comic theatre of taqlid. In particular, it focuses on the depictions of the Iranian diaspora in these comedies. The Iranian diaspora has been imagined and represented frequently in modern Persian culture, often satirically and humorously. More recently, Iranian comedies have provided a new space to imagine, define, criticize and redeem the Iranian diaspora.     

Marriage in Tibet:Principle and Morality

EDITOR'S NOTE:In 1999 the author conducted a social investigation in Ngari, carefully examining all that hesaw and heard to produce an analysis providing a better understanding of the customs andhabits of the Tibetanrace. The following is ananalysis of marriagecustoms in Tibet.During my 1999 visit toNgari, I stayed in Shiquanhe, the prefecturalcapital. Not far from ourhostel was a street stand selling miscellaneous goods. Whenever I passedby, the young man who owned italways greeted me…     

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.