مجله «Film Criticism» ظاهراً یکی از سه ژورنال آکادمیکِ با سابقه در زمینه سینما است که در آمریکا منتشر می شود. در شماره 37-38 (پاییز 2013) این مجله ، نقدی بر کتاب من (Iranian Cinema and Globalization) منتشر شده است. نویسنده  این نقد، خانمی به نام سارا سلجوقی بود که با یک جستجو متوجه شدم دانشجوی دوره دکتری در «دپارتمان مطالعات فرهنگی دانشگاه مینه سوتا» آمریکا هستند و دوره های کارشناسی و کارشناسی ارشد خود را در تورنتو کانادا طی کرده اند. چون دسترسی به مطلب ایشان در سایت مجله هنوز امکان پذیر نیست، ایمیلی برایشان فرستادم و ضمن تشکر، درخواست کردم که در صورت امکان متن آن را برایم بفرستند. ایشان هم لطف کردند و مطلب را فرستادند. بخش هایی از نوشته ایشان را در ادامه آورده ام. البته خیلی سخاوتمندانه تعریف کرده اند و به چند مورد نقص بیشتر اشاره نکرده اند. این «اخلاق علمی» در نقد، خصوصا وقتی اثر متعلق به «دیگرانی» است که شاید وجه اشتراک زیادی با آنها نداریم، تحسین برانگیز است.

 

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The World at Home
A Review of Shahab Esfandiary's, Iranian Cinema & Globalization: National, Transnational and Islamic Dimensions.

Sara Saljoughi

- One of the more compelling aims grounding Shahab Esfandiary’s Iranian Cinema & Globalization: National, Transnational, and Islamic Dimensions is locating the impact of globalization on filmmakers who work within a local and/or national framework. This is a welcome inquiry in the landscape of scholarly works on the post-revolutionary Iranian cinema...

- Esfandiary takes the position that the relationship between globalization and national cinemas must extend beyond a study of transnational filmmakers ... He argues that in the Iranian context, the cases of such transnational works represent a small minority in what is a thriving and diverse domestic film industry.

- Following somewhat perfunctory accounts of reigning theories of globalization and national cinemas, Esfandiary conducts three authorial analyses that examine the question of globalization from three very different perspectives. Esfandiary’s selection and combination of the filmmakers Mohsen Makhmalbaf, Daryush Mehrjui, and Ebrahim Hatami-kia is commendable for the way that it highlights precisely what has been missing from the debates on Iranian cinema after its success on the global film festival circuit in the 1990s.

- Through the book, Esfandiary uses the context of how Iranian films are read globally (but especially in Europe and North America) as a framing device for shifting our attention to what is excluded in the politics of viewing and reading. This formal convention works most persuasively in Chapter Six, “Ebrahim Hatami-kia’s ‘Sacred Defense’ Cinema and Globalization,”...

- In a recuperative reading of the director’s work (which has often been referred to as propagandist, melodramatic, and “simple”), Esfandiary argues that Hatami-kia’s films show, in the struggles of their characters, the challenges faced by the nation-state in the “globally dominant culture of capitalism,” ...

- The strength of Iranian Cinema & Globalization lies in its attempt to restore the radical possibilities of “the capacity to produce images and information” as a way of enabling “the marginalized to acquire the means of …retelling their repressed or misrepresented histories”.
- Despite not always being as convincing or thorough as this reader hoped, Esfandiary nonetheless manages to show that cinema allows the global to appear even in the most rarefied local filmmaking practices.