Fairuz (also spelled Fairouz) (Arabic: فيروز, literally "turquoise") born in Beirut in 21 November 1935, is a Lebanese singer greatly admired in Lebanon and throughout the Arab world. Fairuz is known as "Lebanon's ambassador to the stars".Nouhad Haddad, later known as Fairuz, was born on 21 November 1935 in 'Jabal al Arz', Lebanon, to a modest Syriac Orthodox family. Wadi' Haddad, Fairuz's father, originally came from the city of Mardin, formerly in the Ottoman Empire, (now in Turkey), and settled in Lebanon after he married Lisa el Boustani (Fairuz's mother), a Maronite Lebanese. The family later moved to the cobblestone alley called 'Zuqaq el Blatt' in Beirut. They lived in a single room of a typical Lebanese stone house facing Beirut's Patriarchate school, and shared a kitchen with the neighbours. Wadi' worked as a typesetter in a nearby print shop and Lisa stayed home and took care of her four children, Nouhad, Youssef, Hoda and Amal.Nouhad was a shy child and did not have many friends at school. However, she was greatly attached to her grandmother who lived in 'Debbieh', a village in the mountains of Lebanon, where Nouhad used to spend the summer. Nouhad adored the simple village life. During the day, she helped her grandmother with house chores and fetched fresh water from a nearby water spring. She used to sing all the way to the spring and back. In the evening, Nouhad used to sit by the candle light with her grandmother who used to tell her stories from her voyage to the United States.By the age of ten, Nouhad was already well known at her school for her beautiful voice. She would regularly sing during school festivals and holidays. This is how she came to the attention of Mohammed Fleifel, a well known Lebanese musician and teacher at the Lebanese Conservatory, who happened to attend one of the school's celebrations in February 1950. He was greatly impressed by her voice and performance and advised her to enroll in the conservatory, which she did. At first, Nouhad's conservative father was reluctant to send his daughter to the conservatory; however, he allowed Nouhad to attend classes at the conservatory on one condition, that her brother accompany her. Nouhad's family encouraged her even though they could not afford much, and one day her father surprised her with a radio.Fleifel cared for Nouhad's voice in a fatherly way. Most importantly, he taught her verses recitation from the Quran (Recitative style known as 'Tajweed'). And one day, prominent Lebanese musician and head of the music department at the Lebanese Radio Station Halim El Roumi (the father of famous Lebanese singer Majida El Roumi) happened to hear Nouhad sing. He was deeply impressed by her voice and noticed that it had a rare flexibility that allowed her to sing both oriental and western modes admirably. At Nouhad's request, El Roumi appointed her as a chorus singer at the radio station in Beirut and composed several songs for her. He chose for her the name 'Fairuz', which is the Arabic word for turquoise.A couple of months later, Fairuz was introduced to the Rahbani brothers, Assi and Mansour, who also worked at the radio station as musicians. The chemistry was instant, and soon after, Assi started to compose songs for Fairouz, one of which was 'Itab (the third song he composed for her), which was an immediate smash hit in all of the Arab world, establishing Fairuz as one of the most prominent Arab singers on the Arabic music scene. Assi and Fairuz got married on January the 23rd 1955, and Fairuz then converted to Greek Orthodoxy (Assi's sect).Fairuz had four children: Ziad, a musician and a composer, Layal (died in 1987 of a brain stroke), Hali (paralysed since early childhood after meningitis) and Rima, a photographer and film director.The early works of Fairuz and the Rahbanis were innovative mixtures of oriental and foreign modes (especially Southern American music influenced by Eduardo Bianco) combining Fairuz's distinct vocal timbre with ingenious music by Assi and poetic lyrics that expressed innocent love and nostalgia for Lebanese village life.Fairuz's first large-scale concert took place in 1957 as part of the Baalbeck International Festival, sponsored by Lebanese president Camille Chamoun. Musical operettas and sold-out concerts followed for years, establishing Fairuz indisputably as Lebanon's most beloved singer, and as one of the Arab world's most popular singers, and simply as a singer unlike any other the Arab world has ever seen.Fairuz became the "First Lady of Lebanese singing" (Halim el Roumi) during the 1960s. At that period the Rahbani brothers had written and composed for her hundreds of famous songs, most of their operettas, and 3 motion pictures. In 1969, as popular as it was, Fairuz’s music was banned from radio stations in Lebanon for six months by order of the Lebanese government because she refused to sing at a private concert in the honor of the Algerian president Houari Boumédienne during his visit to Lebanon. Despite that, Fairuz's popularity soared even higher. Fairuz made it clear that she would not sing to any one individual, neither king nor president, but she would always sing to the people.In 1971, Fairuz's fame became international after her major North American tour, which was received with much excitement by the Arab-American and American community and yielded very positive reviews of the concerts. Many consider the 1970s the most important phase of her career, with a maximum of voice power and maturity as well as an abundance in music production by the Rahbani brothers.During the Lebanese Civil War (1975-1990), Fairuz never left Lebanon to live abroad and did not hold any concerts there with the exception of the stage performance of the operetta "Petra", which was performed in both the Western and Eastern parts of the then-divided Beirut in 1978. It pained Fairuz greatly to see the Lebanese suffering and dying at the hands of foreigners and their own. She would not sing for them as they were killing each other and destroying the once beautiful and prosperous Lebanon. However, during that time period, Fairuz held many very successful and record-breaking concerts and tours in numerous countries around the world.After the artistic divorce between Fairouz and the Rahbani Brothers in 1979, Fairuz carried on with her son, composer Ziad Rahbani, his friend the lyricist Joseph Harb, and composer Philemon Wehbe. Together, they forged new albums that yielded tremendous success reinforcing Fairuz's image as the constantly evolving and most prominent Arab singer.Joseph Harb gave Fairuz some of his best lyrics/poems while Philemon Wehbe offered her timeless purely oriental music cherished by the masses. Ziad, on the other hand, offered Fairuz very original jazz-tinted songs at times and masterfully orchestrated oriental songs at others .In the 1990’s, Fairuz produced three albums and held a number of large-scale concerts, most notably the historic concert held at Beirut's Martyr's Square (September 1994) to launch the rebirth of the downtown district that was ravaged by the civil war. She appeared at The International Baalbeck Festival in 1998 after 25 years of absence where she performed the highlights of 3 very successful plays that were presented in the 1960s and 1970s.Fairuz now works exclusively with her composer son Ziad.An Album, (wala Keef), was her latest. It released in 2002.Another huge success was the massive concert at the Las Vegas MGM Grand Arena (1999) which broke box-office sales records[citation needed] and was attended by over 16,000 Lebanese who flocked to the city from all over the American continent and Europe. Ever since, Fairuz has held sold-out concerts at the Beiteddine International Festival (Lebanon) from 2000 to 2003, the United States (2003), Montreal (2005), Dubai, Abu Dhabi, Baalbeck, BIEL (2006) and Athens (2007).Fairuz has performed once or more in each of many countries around the globe including Syria, Jordan, Iraq, Kuwait, The United Arab Emirates, Qatar, Bahrain, Egypt, Tunisia, Algeria, Morocco, France, The United Kingdom, Switzerland, Greece, Canada, The United States of America, Mexico, Brazil, Argentina, Australia, and of course, her very own Lebanon.Fairuz has performed in many internationally famous and prestigious venues such as the Royal Albert Hall in London in 1962, the New York Carnegie Hall in 1971, the London Palladium in 1978, L'Olympia de Paris in 1979, London's Royal Festival Hall in 1986, the Shrine Auditorium in Los Angeles (1971, 1981, and 2003), the John F. Kennedy Center for the Performing Arts in Washington D.C (1981 and 1987)... among many others (for the complete concert chronology, see Fairuz Concerts).Fairuz has yielded record-breaking performances month after month, year after year in almost every concert she has held around the world. Fairuz, Assi, and Mansour have become the most famous and dominant music production phenomenon in the Arab world, and their success has spread beyond the Arab world to Europe, the Americas, and Australia.Of Fairuz's numerous concerts, only the Olympia 1979 concert (audio only, video released in the 80's) and the Las Vegas 1999 concert video only) have been officially released. Pirated versions of other concerts exist: Kuwait 1966, Syria and Egypt 1976, Olympia 1979, Australia 1984, Syria 1985, Bahrain 1987, France 1988, London 1994, MGM Grand Arena (Las Vegas) 1999(this concert is relased as a whole DVD with the make over of the concert), and parts of the four recent Beiteddine concerts (2000 - 2003).Musical plays or operettas were the cornerstone works of the Rahbani Trio, Fairuz, Assi and Mansour. The Rahbani Brothers produced 25 popular musical plays (20 with Fairuz) over a period of more than 30 years. They were possibly the first to produce world-class Arabic musical theatre.The musicals combined rich storyline, poetic lyrics and dialogue, ingenious musical composition varying widely from Lebanese folkloric and rhythmic modes to classical, westernized, and oriental songs, masterful orchestration, and the hauntingly beautiful voice and acting talent of Fairuz, who played the lead role alongside singers/actors Nasri Shamseddine, Wadi' El Safi (the most prominent Lebanese male singer), Antoine Kerbaje, Elie Shouayri (Chouayri), Hoda (Fairuz's younger sister), Siham Chammas (Shammas), Georgette Sayegh and many others.These plays are ample proof of Fairuz's outstanding talent as a singer and actress. The Rahbani plays expressed patriotism, unrequited love and nostalgia for village life, comedy, drama, philosophy, and contemporary politics thereby embodying the very soul of Lebanon. The songs performed by Fairuz as part of the plays have become immensely popular among the Lebanese and Arabs around the world.The Fairuz-Rahbani collaboration produced the following musicals (in chronological order):* "Ayyam al Hassad" ('Days of Harvest' - 1957)* "Al 'Urs fi l’Qarya" ('The Wedding in the Village' - 1959)* "Al Ba'albakiya" ('Baalbeck's Girl' - 1961)* "Jisr el Amar" ('Bridge of the Moon' - 1962)* "'Awdet el 'Askar" ('The Return of the Soldiers' - 1962)* "Al Layl wal Qandil" ('The Night and the Lantern' - 1963)* "Biyya'el Khawatem" ('Rings for Sale' - 1964)* "Ayyam Fakhreddine" ('The Days of Fakhreddine' - 1966)* "Hala wal Malik" ('Hala and the King' - 1967)* "Ach Chakhs" ('The Person' - 1968-1969)* "Jibal Al Sawwan" ('Sawwan Mountains' - 1969)* "Ya'ich Ya'ich" ('Long Live, Long Live' - 1970)* "Sah Ennawm" ('Did you sleep well?' - 1970-1971)* "Nass min Wara'" ('People Made out of Paper' - 1971-1972)* "Natourit al Mafatih" ('The Guardian of the Keys' - 1972)* "Al Mahatta" ('The Station' - 1973)* "Loulou" - 1974* "Mais el Reem" ('The Deer's Meadow' - 1975)* "Petra" - 1977-1978* "Elissa" - 1979 (Never performed due to the separation of Fairuz and Assi)* "Habayeb Zaman" - 1979 (Never performed due to the separation of Fairuz and Assi)Most of the musical plays were recorded and video-taped. Eighteen of them have been officially released on audio CD, two on DVD (Mais el Reem and Loulou). A pirated version of 'Petra' and one pirated live version of 'Mais el Reem' in black and white exist. 'Ayyam al Hassad' (Days of Harvest) was never recorded and 'Al 'Urs fi l’Qarya' (The Marriage in the Village) has not yet been released (yet a pirated audio record is available).Fairuz possesses a large repertoire of around 1500 songs out of which nearly just 800 released. Fairuz has sold 80 million records around the world[citation needed], and has been offered prestigious awards and titles over the years (check Fairuz Awards and Recognitions).Around 85 Fairuz CDs, vinyls and cassettes have been officially released so far. Most of the songs that are featured on these albums were composed by the Rahbani brothers. Also featured are songs by Philemon Wehbe, Ziad Rahbani, Zaki Nassif, Mohamed Abd El Wahab, Najib Hankash and Mohamed Mohsen.Fairuz's unreleased works are very abundant. Most of them date back to the late 1940s, 1950's and early 1960s and were composed by the Rahbani Brothers (certain unreleased songs, the oldest of all, are by Halim el Roumi). A remarkable Fairuz album composed by Egyptian musician Riad Al Sunbati (who has worked with Umm Kulthum) was produced in the 1980’s and is yet to be released. It is also thought that there are fifteen unreleased songs composed by Philemon Wehbe.http://en.wikipedia.org/wiki/Fairuz

Time

The films of Kim Ki-duk routinely convey the power and potency of visual metaphor in the expression of cinematic ideas. The director pays particular attention to photographing his settings in a way that imbues them with added significance and a level of meaning that directly comments on the lives of his subjects. In the highly acclaimed Spring, Summer, Fall, Winter … and Spring, for example, he emphasized the sight of a floating temple surrounded by water and dwarfed by tree covered mountains, to illuminate the loneliness and challenges of monastic life.
Although Time – his newest film to reach these shores – relies more on dialogue and soap operatic situations than one would like, it displays the director’s characteristic belief in the primacy of the image which makes his work such a pleasure to behold. Here the favored setting is a sculpture park, filled with reclining bronzed figures, a hollow, overgrown seashell and, most extraordinarily, a staircase weaved through the fingers of two giant hands, stretching to the sky. For Kim the locale underwrites the movie’s central, existential theme, which explores the most basic difference between humanity and the sculpted creations: Our inability to escape from our memories of the past and the consequences of it.
The main trope supplementing the narrative takes the form of another way to mold a figure: plastic surgery. When See-hee (Park Ji-yeon) observes her boyfriend Ji-woo (Ha Jung-woo) noticing other women and appearing disinterested during sex, she recklessly decides on total facial reconstruction as the only way to continue attracting him. Despite warnings from her surgeon and the fact that her new face will require six months to heal, she disappears without notice and undergoes the surgery, breaking off all contact with Ji-woo. Bewildered and alone, he attempts to get on with his life, but he’s stricken by the sense of See-hee lingering in the shadows, punishing him with her memory.
Though the movie opens with grotesque, jarring footage of a facial reconstruction, and certainly makes an argument against plastic surgery, Kim is not one to be weighed down by such superficial concerns. His film feels like a ghost story, but rather than the usual sort of demon, the ghoul in question takes the shape of Ji-woo’s uncomfortably submerged, unresolved pain over See-hee’s sudden disappearance, and the invasive role it plays in his daily life. The director lends further texture to that idea when See-hee reemerges, unrecognizable (as she desired) but still fundamentally the same person underneath. Ji-woo cannot move on and she cannot easily evade the sum of her prior experiences. They may change their appearances and what they outwardly project but, unlike their beloved statues, which can be modified and rebuilt consequence free, they are sentient beings, each with a soul.
It is the filmmaker’s dreamlike evocation of these weighty, philosophical ideas that makes Time work. Some of the dramatic stuff comes off as pretty uneven, and the main characters display a grating, shared propensity for public screaming fits. But the concerns fall to the wayside when ensconced within Ki-duk’s majestically serene vision, with its beautifully formed master shots that illuminate the quiet and contemplative qualities in the most modern of settings. As the characters sit on the aforementioned two-handed figure, surrounded by water, with its staircase seemingly on an infinite continuum to the heavens, the director achieves nothing short of meditative rapture.

Seom (The Isle)

Seom (The Isle). 2000. South Korea. Directed by Kim Ki-Duk. Screenplay by Kim Ki-Duk. With Jung Suh, Yoosuk Kim, Sung-hee Park, Jae-hyeon Jo, Hang-Seon Jang. Deliriously scenic, The Isle is also one of the most unsettling of Kim Ki-Duk's chamber dramas, marked by the sharp contrast between the idyllic landscape and the sadomasochistic relationship of its two main characters. On a secluded lake where men fish from anchored rafts, a mute young woman sells bait, food, and herself. On one of these rafts the woman spies an attractive fugitive. When he is at his most vulnerable, she—in a sense—hooks him. The Isle is not for the squeamish. In Korean; English subtitles. 90 min.

(Birdcage Inn)

Paran daemun (Birdcage Inn). 1998. South Korea. Directed by Kim Ki-Duk. Screenplay by Kim Ki-Duk. With Ji-eun Lee, Hae-eun Lee, Jae-mo Ahn, Hyeong-gi Jeong, Min-seok Son. Birdcage Inn, Kim's third film, was his first to garner international critical acclaim. Egon Schiele's portraits of nude prostitutes were a major influence on the filmmaker, and he begins Birdcage Inn with the arrival of a young prostitute in a coastal town with one of these portraits under her arm. She soon takes up residence in a down-at-the-heels guesthouse, the Birdcage Inn, where the family who runs the establishment continually interferes with her life and trade. In Korean; English subtitles. 105 min.

(Spring, Summer, Fall, Winter...and Spring)

Bom yeoreum gaeul gyeoul geurigo bom (Spring, Summer, Fall, Winter...and Spring). 2003. South Korea. Directed by Kim Ki-Duk. Screenplay by Kim Ki-Duk. With Yeong-su Oh, Kim Ki-Duk, Young-min Kim, Jae-kyeong Seo, Yeo-jin Ha, Jong-ho Kim, Jung-young Kim, Dae-han Ji. This film, Kim's best known in America, is set in a small Buddhist temple in the middle of a secluded and ravishingly beautiful lake. There live an old monk and his young charge, a boy barely of school age who learns the secrets and lessons of the world around him. As the seasons change, the boy matures into adolescence and adulthood. The film never leaves the floating monastery and its breathtaking vistas, yet its seemingly hermetic world is a window onto life's mysteries. In Korean; English subtitles

My Boyfriend is Type-B

Predicting the reaction of the audience is always not an easy task. Take the recent Korean romantic comedy My Boyfriend is Type-B as an example, it is quite hard to believe that, despite its mediocre quality in all regards, it was still able to top the domestic box office and easily beat the highly controversial yet critically acclaimed The President's Last Bang.The story of the movie is more or less expected. Ha-mi (Han Ji-hye) is a shy and passive girl who doesn't have a boyfriend. One day she comes across an arrogant and jobless young man called Young-bin (Lee Dong-gun), and they fall in love at first sight. However, Ha-mi's cousin (Shin Yi) believes that guys with the B blood type is irresponsible and selfish, and so she strongly urges Ha-mi to break up with Young-bin who happens to be a typical "Type-B" guy. Ha-mi is puzzled but she just loves Young-bin so much that she cannot give him up... The basic structure of this film is quite similar to the 2004 100 Days with Mr. Arrogant in which the bad boy is also pairing up with the submissive girl, and the overall flow of the narrative really lacks surprise, that you can easily tell what the next scene is going to be after you have seen one. Apart from 100 Days with Mr. Arrogant, this film also reminds me of My Sweetie, a Hong Kong romantic comedy that correlates a paper thin "hair washing" theory with love relationship. Similar to that, the idea of corresponding love with blood type is also insubstantial. Perhaps if it is just a small gag in the movie, it would be funny, but if you try to reluctantly expand it to become the thematic element, it just seems to lack the persuasive power to interest the audience, especially with the cliched plot that offers no new insight at all. It is actually possible to replace the idea of blood type with anything else without affecting the narrative at all.The biggest problem of this film is that the script was never fully developed. Not to mention all the plot holes, most of the characters are weak and not lovable. The success of a romantic comedy relies heavily on its characters. For instance, the reason why My Sassy Girl could win the heart of thousands of audiences is mainly because of the very effective depictions of its two unique and lively protagonists. However, in My Boyfriend is Type-B, you just couldn't find any endearing character. Young-bin is a bum that lacks any motives. His personality is vague and you don't really know what his goal is. Ha-mi is a cute and submissive girl, but the way she acts is simply hard to make you believe why she could have such a high tolerance for him. The way they maintain the relationship just doesn't feel plausible at all.Due to the lack of characterizations, both of the leads fail to impress the audience. Nonetheless, the production team should definitely thank the cast. The box office success is without doubt attributed to Lee Dong-gun and Han Ji-hye since both of them are popular TV actors and have a very large fan base. Otherwise, with its insipid script and uninspired direction, this is just another My Sweetie that brings nothing but disappointment.

Samaria (Samaritan Girl)

Samaria (Samaritan Girl). 2004. South Korea. Directed by Kim Ki-Duk. Screenplay by Kim Ki-Duk. With Yeo-reum Han, Ji-min Kwak, Eol Lee, Kwon Hyun-Min, Oh Young, Gyun-Ho Im. This three-act melodrama begins with two carefree women, one a prostitute raising money for a European trip and the other her manager. When the former dies, her manager vows to return all of their profits to the clients—but only after sleeping with each of them. Meanwhile her father, a retired policeman, awaits her confession. The acts are titled "Vasumitra" (the name of a legendary prostitute who turned clients toward Buddhism), "Samaria" (after "Santa Maria" and "samaritan"), and "Sonata." In Korean; English subtitles. 95 min.

Bin-jip (3-Iron)

Bin-jip (3-Iron). 2004. South Korea. Directed by Kim Ki-Duk. Screenplay by Kim Ki-Duk. With Seung-yeon Lee, Hyun-kyoon Lee, Hyun-ho Kwon, Jeong-ho Choi, Ju-seok Lee, Mi-suk Lee, Sung-hyuk Moon, Jee-ah Park, Jae-yong Jang, Dah-hae Lee. Many of Kim's films are divided into parts, and in 3-Iron the divisions are especially telling. A young man enters people's vacant homes—treating them with great respect and care—only to sneak away when the owners return. The first part of the film concerns his discovery and capture; the second section takes place in prison, where he practices the art of disappearing; and the third is about being present without being seen. In Korean; English subtitles. 90 min.

Soom (Breath)

Soom (Breath). 2007. South Korea. Directed by Kim Ki-Duk. Screenplay by Kim Ki-Duk. With Chen Chang, Jung-woo Ha, Kim Ki-Duk, Ji-a Park Kim. Kim's most recent excursion into hyperrealism follows an attractive young sculptor living on the outskirts of Seoul with her beloved daughter and a husband from whom she is alienated. Upon seeing a television news broadcast about a death row inmate's suicide attempt, she begins visiting the prisoner in jail. Each season, she redecorates the prison visiting room, talks about herself, sings, and even dances for the prisoner—yet he remains stoically silent. Kim produces a transcendent film from this seemingly bizarre narrative. In Korean; English subtitles. 84 min.

یکی از فیلم های غریب سینما که قصد دارم در این بخش معرفی کنم فیلمی به نام"عشق دیوانه وار"است که تصدیق میکنم کمی اسم غلط انداز و خنده داری دارد."عشق دیوانه وار"بیش از روایت مکافات عشق داستان جنایت های عشق است.شاید کسی نداند که بازیگر این فیلم پیتر لور پس از این فیلم بود که به ستاره ای در امریکا تبدیل شد.پیتر لور در این فیلم نقش نابغه دیوانه ای به نام دکتر گوگول را بازی میکند.سرگرمی هر شب این دکتر دیوانه رفتن به تماشاخانه ها و تیاتر های گراند گینیول است،چرا که او تا حدود زیادی با دیدن صحنه های اروتیک،پورنو و خشونت امیز دچار بر انگیختگی جنسی میشود.هنرپیشه زن مورد علاقه اوکه نقشش را فرانسیس دریک بازی میکندبه ناگاه تصمیم به ترک صحنه نمایش و رفتن به سفری دور و دراز با شوهر پیانیستش میگیرد.شوهر پیانیست زن استفان ارلاک نام دارد که نقشش را کالین کلایو بازیگر نقش دکتر دیوانه در "فرانکشتاین"بازی میکند.گوگول به دست و پای زن می افتد و از او میخواهد که جایی نرود و این اغاز شک ها و ترس و لرز های زن است.او صحنه نمایش را ترک میکند ولی از بازی و نمایش تازه ای که اغاز شده بی خبر است.شوهر زن در یک تصادف دست هایش را از دست میدهد و زن برای مداوای او مجبور به التماس از دکتر گوگول است.اینجا قسمت جذاب داستان است چرا که دکتر گوگول دیوانه پس از کمی ناز و عشوه در یک عمل جراحی پیوند اعضا،دست های شوهر مفلوک را پیوند میزند.غافل و بیخبر اما زن بازیگر است چرا که نا اگاه است که گوگول دیوانه دست های یک قاتل و چاقو کش را به جای دست های شوهرش نصب کرده است.هارور و وحشت بی پایان داستان اغاز میشود.روایت به ناگاه از قلب ملودرام به بطن سلاخی،هارور و ادمکشی می غلطد....ترکیبی از ضربات خونبار چاقو ها،بریدن و له شدن سرها و صحنه های سادومازوخیستی چندش اور که دیگر روایت قتل و دست های قاتل نیست بلکه تصویر یک عشق وسواس امیز،فتیشیستیک و نا فرجام است که به دیوانه شدن انسان می انجامد.این صحنه از فیلم یکی از تکان دهنده ترین های تاریخ سینما است. دکتر گوگول دیوانه فریاد میزند:"گالاتیا،گالاتیا....من پیگمالیون هستم.تو مجسمه ای مومی بودی ولی در دست های من جان گرفتی...نمیتوان از "عشق دیوانه وار" گفت و از کارل فروید فقید و یکی از خدایان پانتئون کارگردانی نگفت.کسی که سینمای اکسپرسیونیستی المان و "همشهری کین " ارسن ولز مدیون او و تکنیک های او بود

گراند گینیول به سبک ژاپنی

Grand Guignol, Japanese style, takes center stage in "Strange Circus," an out-there yarn that shocks, provokes but ultimately bores with its tasteless indulgences. Indie helmer Sion Sono, who raised eyebrows and some interesting ideas with his 2002 cult fave, "Suicide Club," this time goes for the jugular. Film will be most at home at midnight fest sidebars, or anywhere else where a trash aesthetic is embraced.After a "Cabaret"-like framing device that provides the film's title, pic starts out as the story of 12-year-old Mitsuko (Rie Kuwana), who's being sexually abused by her father, Gozo (Hiroshi Oguchi), and terrorized by her jealous mother, Sayuri (Masumi Miyazaki). Mitsuko is imprisoned in a cello case and forced to watch her parents' intimate liaisons through a peephole. The strange abuse causes Mitsuko to blur the distinction between her mother's pleasure and her own pain. When her mom dies after falling down the stairs, Mitsuko starts believing she is her mother. Worse, dad sees his wife's death as a green light to shamelessly ramp up his incestuous relations with his daughter...

گراند گینیول ها به نمایشنامه های کوتاهی به محوریت مضامینی همچون خشونت،وحشت،سادیسم و جنایت در تماشا خانه های پاریس در اغاز قرن بیستم اجرا میشدند.نام ایثن نمایشنامه ها از صحنه های خشونت امیز و وحشیانه ای گرفته شده است که سوژه اصلی ان کاراکتری به نام گینیول است.هین نمایشنامه ها به صورت اغازین و ابتدایی خود در فاصله سالهای 1897 تا 1962 در تماشا خانه گراند گینیول اجرا میشدند. جالب این است که گینیول کاراکتر عروسکی نمایشنامه های کودکان است. اصل قضیه گینیول به سالهای قرن هجدهم برمیگردد: زمانی که بر اساس داستان ها و روایات کارگر از کار افتاده ای به نام لورن مورگه که از قضای روزگار بافنده بود به این نتیجه میرسد که باید برای امرار معاش خود از زور بازویش برای کندن دندان های مردم استفاده کند.شمایل او که از شهری به شهر دیگر و از مکانی به مکان دیگر در سفر و گذار بود در کنار وسایل کار دندان کشی اش که شامل انبر ها و انبرکها وگاز انبر ها بود و نوع کارش که همواره با اه و ناله و ضجه های مردم قرین بود در ذهن مردم گوشه و کنار به موجودی ترسناک بدل شد.حضور او دیگر در هر جایی عامل ترس و وحشت بود.او ناچار شد برای از بین بردن ترس مردم عروسکی شبیه خودش بسازد و پیش از کشیدن دندان مردم انها را با نمایش های عروسکی اش سرگرم کند. اینگونه شد که شمایل عروسکی به شخصیتی محبوب در میان مردم بدل شد و لورن دندونکش هم عروسک گردانی معروف شد و ملت هم درد دندان و نان از یادشان رفت... و کم کم نطفه نمایش خیابانی بسته شد.دولت و حکومت وقت فرانسه وقتی هجوم و اقبال مردم را دید که در ضمن هجوم برای دیدن نمایشنامه ها و تیاتر های خیابانی فضایی هم برای نقد دولت و حرف های بو دار گیر اوردند این نمایشنامه ها را غیر قانونی اعلام کرد.نمایش هایی که مانند نمایش پانچ و جودی در انگلستان به مضامینی همچون خدا،حکومت،مذهب ،پادشاهان و اربابان زمان میپرداختند و اسباب زحمت حکومت ها بودند. اینگونه بود که لورن داستان ما باز بیکار شد...پیدا کنید کسب و کار بعدی لورن را....برخی از نمایش های این سبک شامل موارد است Jack (Lui) by Oscar MetenierThe Ultimate Torture (La Derniere Torture)by Andre de Lorde and Eugene MorelThe Lighthouse Keepers (Gardiens de phare)by Paul Autier and Paul CloqueminChop-Chop! or The Guillotine (La Veuve)by Eugene Heros and Leon AbricTics, or Doing the Deed (Apres Coup!... ou Tics)by Rene BertonIn the Darkroom (Sous la lumiere rouge)by Maurice Level and Etienne ReyThe Final Kiss (Le Baiser dans la nuit)by Maurice LevelThe Torture Garden (Le Jardin des supplices)by Pierre Chaine and Andre de LordeEuthanasia (L'Euthanasie ou le Devoir de teur)by Rene BertonThe Kiss of Blood (Le Baiser du sang)by Jean Aragny and Francis Neilson

giallo fever(سینمای ژالو)

سینمای ایتالیا در تب جاهیلو(ژیاللو)میسوزد و کارگردانان بسیاری توان مقابله با فرو رفتن در این ژانر را ندارند.ژیاللو یکی از محبوب ترین ژانر های ادبی و سینمایی قرن بیستم ایتالیا است.این ژانر ایتالیایی بسیار مرهون سینمای فانتاستیک فرانسوی ووامدار داستان های جنایی و ترسناک با مایه های اروتیک است.واژه "ژیاللو" از ژیاللی درزبان ایتالیایی به معنای رنگ زرد گرفته شده است.که در حقیقت رنگ جلد کتابچه هایی در ایتالیا است که این ژانر از ان استخراج و اقتباس شده است.اگاتا کریستی،ژرژ سیمنون و ادگار والاس از چهره های شاخص ادبیات زرد هستند.سینمای زرد در 1960 به عنوان اقتباسی از این ادبیات عامه پسند اغاز به کار کرد.سبک ویژه کارگردانان ایتالیایی در ادامه به پروار شدن هر چه بیشتر این ژانر زرد کمک کرد و تریلر های روانشناسانه و وحشت بسیاری از بغل این اقتباس ها بیرون امد.در واقع سینمای ژیاللی در دهه 1970 با اثار مطرح کارگردانانی نظیر داریو ارژنتو وماریو باوا به اوج شکوفایی و بالندگی خود رسید.فیلم هایی که سرشار از قتل ها و جنایتکار ها و سر نخ های اسرار امیز است که به صحنه های تکان دهنده ختم میشود.صحنه های جنایت و خونریزی در کنار موزیک های الکترونیک و هیپنوتیک و زاویه های نا متعارف دوربین از سبک های مورد علاقه کارگردانان این ژانر است.سنت دیر پا و باستانی اپرا و نمایش عروسکی در کنار ویژگی های مدرن ژانر اسلشر در ایتالیا اثرات سازنده ای بر سینمای زرد ایتالیا گذاشته است.محتوای این ژانر علاوه بر مقادیر زیادی از دلالت های برهنگی . وسکس شامل مایه هایی از جنون،از خود بیگانه شدن،مسخ و پارانویا میباشد. به عنوان مثال چشم گربه سیاه اثر سرژیو مارتینو که اقتباس ازادی از "گربه سیاه" ادگار الن پو میباشد در کنار اثار داریو ارژنتو با موزیک های عجیب و غریب برونو نیکلای و گروه بیمانند "گوبلین" را میتوان از نمونه های این ژانر دانست... ژانر زرد

فیلم های ژانر شمشیر و صندل(پپلوم) :تعریف

فیلم های ژانر شمشیر و صندل(پپلوم) به گونه ای ازفیلم های حادثه ای گفته میشود که ویژگی های فانتزی گونه دارند.سوژه های این ژانر بیشتر قهرمانان کلاسیک یا کاراکتر های کتاب مقدس هستند.پپلوم از واژه لاتین پپلوس به معنای نوعی ردا یا لباس زنانه نیمتنه است که در این ژانر بیشتر بر تن بازیگران این فیلم ها دیده میشود. پلات و صحنه های این ژانر بیشتر بر اساس اسطوره شناسی و تاریخ قرار دارد.فرهنگ های باستانی نظیر سنن مصری ها،اشوری ها،اتروسکان ها،مینوان ها از موضوعات محوری در این ژانر است.بیشترین تولید فیلم در این ژانر به سالهای 1958 و 1964 بر میگردد.این زانر فیلم های گوناگونی نظیر بن هور،کلئوپاترا،تیتوس،گلادیاتور،شاه ارتور و ده فرمان را شامل میشود.در حقیقت میتوان این ژانر را از قدیمی ترین ژانر های سینما دانست.فیلم هایی نظیر نسخه قدیمی بن هور به کارگردانی سیدنی الکات در سال 1907 وفیلم صامت کابیریا در سال 1914 را میتوان در این ژانر در نظر گرفت.کابیریا یکی از اساسی ترین فیلم ها در مسیر توسعه و پیشرفت سینماتوگراف و یکی از معدود فیلم هایی است که بازیگر غول پیکر سینمای صامت بارتولومه پاگانو در ان ایفای نقش میکند

سینمای ایتالیا:جنسیت و ژانر

“Maggie Gunsberg examines popular genre cinema in Italy during the 1950s and 1960s, focussing on melodrama, commedia all'italiana, peplum, horror and the spaghetti western. These genres are explored from a gender standpoint which takes into account the historical and socio-economic context of cinematic production and consumption. An interdisciplinary feminist approach informed by current film theory and other perspectives (psychoanalytic, materialist, deconstructive), leads to the analysis of genre-specific representations of femininity and masculinity as constructed by the formal properties of film.”As the synopsis suggests, this is a heavy-duty academic study of Italian filone film and does not address the giallo specifically, pretty much ending just as it was taking over at the box office. Nevertheless, any book which has a cover image from Freda's Lo Spettro and discusses Duccio Tessari's rules for the peplum gets my recommendation.

ghost dance(رقص اشباح)

رقص اشباح یا گوست دانس فیلمی به کارگردانی کن مک مولن و با بازی بی همتای ژاک دریدا در نقش خودش(فیلسوفی بی قرار و ساختار شکن با رهنمود ها و بینش های تکان دهنده در باره ارواح) میباشد .این فیلم محصول سینمای مستقل بریتانیا در سال 1983 هست و به کاوش در باب اسطوره هاو افسانه ها وباور ها در موردماهیت سینما و وجود ارواح میپردازد.پیچیدگی مفهوم ارواح حافظه انسانی و زمان گذشته از خلال سیر و سلوک و تجربیات دو زن در پاریس و لندن محوریت اساسی فیلم است.سبک و سیاق فیلم بسیار وامدار اثار ژاک ریوت و ژان لوک گدارد است ولی با این وجود حضور پدیده ای چون دریدا در فیلم گفتمان و استیل متفاوتی به فیلم بخشیده است.فیلم تا حد بالایی حول نظریات و ارای ژاک دریدا در مورد ارواح و حضور اشباح در سینما قوام یافته است.دریدا ارواح و حضور گسترده اشباح در سینما را خاطره و حافظه چیزی میداند که هرگز اکنون و در زمان حال نبوده است.این نظریه در فیلم باتصاویر شبح گونه یا فانتوماتیک در معرض اجرا گذاشته میشود... این فیلم به لحاظ ساختاری با فیلم هایی چون تلما و لوییس،سلین و ژولی به حمام میروند،اخر هفته گدارد و بی خورشید کریس مارکر قابل مقایسه است.پاسکال اژیر و لیونی ملینگراز دیگر بازیگران رقص اشباح هستند.در ادامه به بررسی بیشتر ارای دریدا در باب مفهوم ارواح و حضور اشباح در سینما میپردازم

hauntology

هستی-شبح شناسی بیرون کشیدن تمامی ارواح و اشباح از کالبد هستی شناسی است. ارواحی که در انتظار تخته احضار روح هستند... تخته ای که بیش از هر چیز یاد اور متن است.متنی که بر/در ساحت سفید و رنگ پریده کاغذ نوشته میشود. دریدا در 1993 مفهوم هستی-شبح شناسی را در متن تکان دهنده "اشباح مارکس" مطرح میکند و ان را در برابر و هم صدای انتولوژی قرار میدهد.دریدا با این مفهوم به خصلت اسرار امیز اشباح و ارواح اشاره میکند که در مرز هستی و نا-هستی قرار گرفته اند.نولوژیسم یا واژه سازی دریدا هستی شناسی را از بیخ و بن ساختار شکنی میکند.از منظر هستی-شبح شناسی دریدایی گذشته و زمان از دست رفته تنهاعوامل دخیل در ایجاد چیزی به نام زمان حال هستند.از منظر دریدا جامعه با گذر از تاریخ و پیمودن مسیری که به پایان تاریخ میرسد.بیش از هر زمانی به زمان نیاز دارد زمانی که کهنه و قدیمی شده است.هستی به مرز هرواح و گذشتگان میرسد.گذار به ارتباط با پدیداری به نام شبح....روح گذشته به تسخیر حال مشغول میشود.سایبرپانک اغاز میشود