Farshad Zahedi
Biographic Data
| ID | 6558501 |
|---|---|
| NAME | Farshad Zahedi |
| GIVEN NAMES | Farshad |
| FAMILY NAME | Zahedi |
| SIGNATURE | ZAHEDI F |
| AFFILIATIONS | Universidad Carlos III de Madrid |
| ORCID | 0000-0001-9315-9624 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Monstrua con chador o heroína abyecta
Este estudio analiza el personaje principal de la película Una chica vuelve a casa sola de noche (A Girl Walks Home Alone at Night, 2014), la ópera prima de Ana Lily Amirpour. Monstrua o heroína, este personaje es una construcción híbrida de entre varias referencias culturales y literarias. Vampira vestida con el velo largo islámico chador, vigilante de una ciudad imaginaria, el personaje es una monstrua a la vista de los hombres que ejercen la c…
La cultura de segregación en la videocreación orientalista
La obra de Neshat, desde varias perspectivas teóricas, merece un estudio pormenorizado. Mi intención en este estudio es, a propósito de dos de sus videoinstalaciones, Zarin (2005) y Munis (2008) de la serie Mujeres sin hombres (Zanan bedun-e mardan, 2004-2009), examinar la visión de la artista al orientalismo y a las geometrías del poder. Forma parte del marco teórico de este estudio una relectura al contexto histórico del orientalismo, además de…
Doors, Windows and the Notebook of Solidarity
When interpreting Where Is the Friend’s House?, many critics and scholars see metaphysical references in the simple act of a child attempting to overcome obstacles put in his way by adults. But any mystical reading of the film runs the risk of closing off consideration of Kiarostami’s endeavour to offer a cognitive map of a crucial moment in Iranian history. This study aims to rethink the film, focusing on Kiarostami’s depiction of social conflic…
La escuela de Argüelles en la Televisión Española. El caso de Emilio Martínez Lázaro
En el contexto del cine español del tardofranquismo, a finales de los años sesenta, surge un particular círculo de cinefilia conocido como la Escuela de Argüelles (EA). Los miembros de la EA encuentran serios obstáculos para incorporarse a la industria del cine español, por los cambios fundamentales que sufre el sector en el umbral de la transición a la democracia. En busca de una alternativa, algunos miembros del círculo encuentran a la televisi…
Cine iraní en España
This study is an effort to analyse how Spanish cinephilia have received Iranian movies, which reached the commercial screens of Spain since their success on International film festivals. The interest in the Iranian Cinema in Spain arose not only out of their formal differences from the mainstream cinema but also from their status as Iranian cultural products, for being considered as culturally “other.” The visual style of directors like Kiarostam…
The Myth of Bastoor and the Children of Iranian Independent Cinema
La programación de cine en TVE en la “Primavera de Aperturismo” (enero-junio 1974)
The socio-political openness, which was promulgated by the government of Arias Navarro in 1974, known as the spirit of February 12, had effects on TVE programming. The changes were started by the Juan José Rosón’s team, the new Managing Director of TVE, especially by the new Programming Director Narciso Ibañez Serrador. The openness time was shortlived, because it was aborted by hard core of francoism ideology. The reason was apparently the “erot…
La programación de cine en TVE en la “Primavera de Aperturismo” (enero-junio 1974)
The socio-political openness, which was promulgated by the government of Arias Navarro in 1974, known as the spirit of February 12, had effects on TVE programming. The changes were started by the Juan José Rosón’s team, the new Managing Director of TVE, especially by the new Programming Director Narciso Ibañez Serrador. The openness time was shortlived, because it was aborted by hard core of francoism ideology. The reason was apparently the “erot…
The Myth of Bastoor and the Children of Iranian Independent Cinema
La programación de cine en TVE en la “Primavera de Aperturismo” (enero-junio 1974)
The socio-political openness, which was promulgated by the government of Arias Navarro in 1974, known as the spirit of February 12, had effects on TVE programming. The changes were started by the Juan José Rosón’s team, the new Managing Director of TVE, especially by the new Programming Director Narciso Ibañez Serrador. The openness time was shortlived, because it was aborted by hard core of francoism ideology. The reason was apparently the “erot…
Cine iraní en España
This study is an effort to analyse how Spanish cinephilia have received Iranian movies, which reached the commercial screens of Spain since their success on International film festivals. The interest in the Iranian Cinema in Spain arose not only out of their formal differences from the mainstream cinema but also from their status as Iranian cultural products, for being considered as culturally “other.” The visual style of directors like Kiarostam…
La escuela de Argüelles en la Televisión Española. El caso de Emilio Martínez Lázaro
En el contexto del cine español del tardofranquismo, a finales de los años sesenta, surge un particular círculo de cinefilia conocido como la Escuela de Argüelles (EA). Los miembros de la EA encuentran serios obstáculos para incorporarse a la industria del cine español, por los cambios fundamentales que sufre el sector en el umbral de la transición a la democracia. En busca de una alternativa, algunos miembros del círculo encuentran a la televisi…
Doors, Windows and the Notebook of Solidarity
When interpreting Where Is the Friend’s House?, many critics and scholars see metaphysical references in the simple act of a child attempting to overcome obstacles put in his way by adults. But any mystical reading of the film runs the risk of closing off consideration of Kiarostami’s endeavour to offer a cognitive map of a crucial moment in Iranian history. This study aims to rethink the film, focusing on Kiarostami’s depiction of social conflic…
Monstrua con chador o heroína abyecta
Este estudio analiza el personaje principal de la película Una chica vuelve a casa sola de noche (A Girl Walks Home Alone at Night, 2014), la ópera prima de Ana Lily Amirpour. Monstrua o heroína, este personaje es una construcción híbrida de entre varias referencias culturales y literarias. Vampira vestida con el velo largo islámico chador, vigilante de una ciudad imaginaria, el personaje es una monstrua a la vista de los hombres que ejercen la c…
La cultura de segregación en la videocreación orientalista
La obra de Neshat, desde varias perspectivas teóricas, merece un estudio pormenorizado. Mi intención en este estudio es, a propósito de dos de sus videoinstalaciones, Zarin (2005) y Munis (2008) de la serie Mujeres sin hombres (Zanan bedun-e mardan, 2004-2009), examinar la visión de la artista al orientalismo y a las geometrías del poder. Forma parte del marco teórico de este estudio una relectura al contexto histórico del orientalismo, además de…
Art (6 works) · Political science (4 works) · Spanish Culture and Identity (4 works) · Humanities (3 works) · Law (3 works) · Law (3 works) · Literature (3 works) · Media, Journalism, and Communication History (3 works) · Movie theater (3 works) · Politics (3 works)